As with almost all of his work, Robert Wilson’s approach to the creative treatment for the Voom Portraits is a synthesis of cultural histories and images. For instance, take the Princess Caroline Voom Portrait. The starting point for us with this portrait was her mother, Grace Kelly, and her mother's character Lisa Fremont, from the 1954 Alfred Hitchcock classic, Rear Window.
A pivotal moment in this influential film occurs when Lisa, discovering a substantial clue to a murder in the form of a missing wedding ring, signals that fact to her boyfriend, photographer/voyeur L.B. “Jeff” Jeffries, played by Jimmy Stewart.
With it's compact form, the lost ring as both a sign of the love lost between the husband and wife (in this case represented via a murder) and a sign of the future bond between Lisa and Jeff (the wedding ring) is pure Hitchcock. Does her pose as a seemingly guilty handcuffed trespasser in another's apartment give us Hitchcock's view of the constraints of relationships?
The unfolding lighting sequences on Princess Caroline's hands/ring, the upper arm and face, or just her black silhouette seem at the same time classical and tribal, vacillating between a portrait and landscape, reflecting both Sergeant and Hitchcock. With the added Bernard Hermann sound score from Vertigo the result is seminal Wilson.
-- Noah Khoshbin, Producer, Voom Portraits