My series explores wedding customs in the UK, revealing the fantasy, performance and trophy moments of the traditional big day. The series consists of online adverts of brides wearing their now redundant wedding dresses, which they hope to sell on.
The smiling faces of the bride, groom and their entourages have been blocked out in white, smothered in Blu Tack or scratched off in a bid to keep their private day anonymous in the public arena. What remains are bizarre theatres of marriage; masked performers take to the stage and act out emblematic scenes.
In making this series, I posed as someone on a quest for the perfect dress. The brides revealed to me why they were discarding their wedding outfits: to declutter their wardrobe, to make space for additional children or, in some cases, because the dresses were tainted by divorce.
The original wedding album represents the trophy, the validation of a ceremony, a ritual performed, a tradition upheld, a record of the perfect day. But now the party is over, the cake has been eaten, the presents have been opened and the photographs have been framed. What’s left behind are these online adverts, the detritus and props of the fairytale wedding production.
Natasha Caruana’s work will be exhibited in ‘Hooked’ at Science Gallery London, September 21-January 6 2019, and in ‘Cold Cases’ at Old Police Cells Museum, Brighton, September 29-October 6; natashacaruana.com
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