Classical ballet inspires romantic dreams of beauty and perfection like no other art form. But what lies behind the vision is years of formal training, starting at a very young age. For anyone who has dreamed of being Odette/Odile in Swan Lake, or the swashbuckling slave in Le Corsaire, the true picture of what preceeds the stage version can be seen in Rachel Papo’s series, Desperately Perfect, opening tomorrow night at ClampArt Gallery, in Chelsea.

Papo spent five weeks photographing at the legendary Vaganova Ballet Academy in St. Petersburg, Russia. Day in and day out, she became an invisible guest at classes that teach a method, and its discipline, that dates back to the 1930s, and which counts George Balanchine and Mikhail Barysnikov among its proponents.

Left: Three 2^nd Class Girls Backstage, St. Petersburg, Russia, 2007. Right: 6^th Class Boys, St. Petersburg, Russia, 2007. Copyright and courtesy of Rachel Papo.

The school accepts only the most talented youngsters, starting at age 10, and grooms them for places in the great ballet companies of Russia and Europe. Each year only a handful of graduates are accepted for the premier dancer track; the rest will end up in the corps de ballet if they’re good enough.

In her photographs of young dancers at the barre, preparing for class, and practicing moves as they wait their turn to go on, Papo reveals the seemingly nerveless strength of these kids. Their concentration is evident in the blank expressions that prevail. For the most part they are encapsulated in the split second timing of their pursuit (above, right) with an occasional burst of camaraderie that brings three girls together to perfect a variation (above left). As Papo writes, “These students strive for a level of perfection that is always out of reach.”

A scene backstage at the Mariinsky Theatre, bathed in golden light, conjures up paintings made by Edgar Degas at the Paris Opera over a hundred years ago. But Papo mainly kept her gaze within the classroom, except for one view of a dancer backstage at the theatre, dressing for a performance.

In this photograph, as in many others, Papo uses the everpresent mirrors to great effect. She creates scenes within scenes, often exploding space into multi-level planes that expand the interiors. In Final Cut, she photographed, through a mirror, a group of girls auditioning for a place in the school. The right side of the mirror is gummed up with layers of hand prints, probably a term’s worth, which veil half the lineup in a mysterious fog.

Rachel Papo: Despertely Perfect is on view at ClampArt Gallery from February 12 - March 14, 2009, with a section of images from Serial No. 3817131 (and signed copies of the book) in the Project Room. The opening reception is Thursday, February 12, from 6 - 8pm. 521-531 West 25^th Street, Ground Floor. 646-230-0020. Please check the website for information.

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