At once the most familiar and the most contradictory of paintings genres the portrait may limit the painter's use of abstraction. The value and pleasure of the portrait is simultaneously to draw from an individual subject or group both their psychological distinction and their representative value. A portrait is both a portrait of a subject and of her times.
Sandro Kopp's recent skype portraits are the first examples we have of a painter who accepts and introduces into the portrait the hybrid space of the on-line. In this he follows those painters who have recognized that the extension of media, radically with photography, and subsequently with film and television, does not proscribe the significance of canvas, but rather re-defines it. In recent writings he has alluded to an intangible difference between the photograph and the presence of the sitter that he seeks to explore. Kopp's reserve regarding the photographic image may be in order to move closer to elements in the skype call that resemble a model for an interactive cinema.
From Mark Stafford: Mortal Data
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