The more-than-two-dimensional girl
It would suffice for the illustrations of Stina Persson to seize my attention with the same cool, bar-coded glove any i-Ad or 15-second Coke spot would (after all, the colossal cola company is one in a long list of her notable clients). The female figures found in her sketches, stencils, and paintings (often all on the same canvas) exude the prototypical mixture of alluring despair and exuberance fatale that would quench any sucker with a superficial thirst for the Classic type.
And while Persson, the cover artist for Print magazine’s “Stylish Alchemy of Graphics and Fashion” issue, has clearly found the proper-sized glove for her virtuosic hand, the grip in which her subjects are not held, but hold themselves, goes far deeper than their paper skin. Persson’s technical variety endows them with the texture and depth of watercolour; their sketched contours borne proudly like scars; even the unstencilled emptiness of their faces is a relative accessory to the force of personality which finds itself amongst the motley cacophony of its constitution.
If there is to be a point of departure from this generation’s classic feminine type, then, gratefully, let it be that gaze.