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I named this piece “Isn’t it funny” because the inspiration for the piece came from looking at an old text book on society written in the fifties. I thought it would be “funny” in a cool way to have the images from that time be juxtaposed with one of my angry feminist women. I used an old looking map and as I pasted them down to the board, all the pages serendipitously fit perfectly around, no need for cutting, and no need for searching for more images, and not throwing any to the side. I understand the link this punching figure represents to the prim and proper photos and illustrations of women getting ready for marriage, gossiping women and cheerleaders and daydreaming female students, and a painting monkey, but I do not wish to concretely make a statement about how those images and my figure relate. This piece comes from an inner dialogue between my conscious and subconscious. This piece, as with most of my pieces are a mirror for myself from my subconscious. I like the energy my female figure brings to these old pages. The color around her I created while dancing around her, slamming at the panel on the floor, dripping and pouring and hitting and dragging and scratching at the surface. The end result is a map of an emotion being expelled.
I named this piece “Isn’t it funny” because the inspiration for the piece came from looking at an old text book on society written in the fifties. I thought it would be “funny” in a cool way to have the images from that time be juxtaposed with one of my angry feminist women. I used an old looking map and as I pasted them down to the board, all the pages serendipitously fit perfectly around, no need for cutting, and no need for searching for more images, and not throwing any to the side. I understand the link this punching figure represents to the prim and proper photos and illustrations of women getting ready for marriage, gossiping women and cheerleaders and daydreaming female students, and a painting monkey, but I do not wish to concretely make a statement about how those images and my figure relate. This piece comes from an inner dialogue between my conscious and subconscious. This piece, as with most of my pieces are a mirror for myself from my subconscious. I like the energy my female figure brings to these old pages. The color around her I created while dancing around her, slamming at the panel on the floor, dripping and pouring and hitting and dragging and scratching at the surface. The end result is a map of an emotion being expelled.
I named this piece “Isn’t it funny” because the inspiration for the piece came from looking at an old text book on society written in the fifties. I thought it would be “funny” in a cool way to have the images from that time be juxtaposed with one of my angry feminist women. I used an old looking map and as I pasted them down to the board, all the pages serendipitously fit perfectly around, no need for cutting, and no need for searching for more images, and not throwing any to the side. I understand the link this punching figure represents to the prim and proper photos and illustrations of women getting ready for marriage, gossiping women and cheerleaders and daydreaming female students, and a painting monkey, but I do not wish to concretely make a statement about how those images and my figure relate. This piece comes from an inner dialogue between my conscious and subconscious. This piece, as with most of my pieces are a mirror for myself from my subconscious. I like the energy my female figure brings to these old pages. The color around her I created while dancing around her, slamming at the panel on the floor, dripping and pouring and hitting and dragging and scratching at the surface. The end result is a map of an emotion being expelled.
I named this piece “Isn’t it funny” because the inspiration for the piece came from looking at an old text book on society written in the fifties. I thought it would be “funny” in a cool way to have the images from that time be juxtaposed with one of my angry feminist women. I used an old looking map and as I pasted them down to the board, all the pages serendipitously fit perfectly around, no need for cutting, and no need for searching for more images, and not throwing any to the side. I understand the link this punching figure represents to the prim and proper photos and illustrations of women getting ready for marriage, gossiping women and cheerleaders and daydreaming female students, and a painting monkey, but I do not wish to concretely make a statement about how those images and my figure relate. This piece comes from an inner dialogue between my conscious and subconscious. This piece, as with most of my pieces are a mirror for myself from my subconscious. I like the energy my female figure brings to these old pages. The color around her I created while dancing around her, slamming at the panel on the floor, dripping and pouring and hitting and dragging and scratching at the surface. The end result is a map of an emotion being expelled.
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Isn't It Funny Painting

Christine Sauerteig-Pilaar

United States

Painting, Oil on Paper

Size: 48 W x 42 H x 2 D in

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About The Artwork

I named this piece “Isn’t it funny” because the inspiration for the piece came from looking at an old text book on society written in the fifties. I thought it would be “funny” in a cool way to have the images from that time be juxtaposed with one of my angry feminist women. I used an old looking map and as I pasted them down to the board, all the pages serendipitously fit perfectly around, no need for cutting, and no need for searching for more images, and not throwing any to the side. I understand the link this punching figure represents to the prim and proper photos and illustrations of women getting ready for marriage, gossiping women and cheerleaders and daydreaming female students, and a painting monkey, but I do not wish to concretely make a statement about how those images and my figure relate. This piece comes from an inner dialogue between my conscious and subconscious. This piece, as with most of my pieces are a mirror for myself from my subconscious. I like the energy my female figure brings to these old pages. The color around her I created while dancing around her, slamming at the panel on the floor, dripping and pouring and hitting and dragging and scratching at the surface. The end result is a map of an emotion being expelled.

Details & Dimensions

Painting:Oil on Paper

Original:One-of-a-kind Artwork

Size:48 W x 42 H x 2 D in

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Christine Sauerteig-Pilaar is a contemporary artist living and working in New Jersey. Her compelling and emotional artworks look to speak to the primitive side of the human existence and how that relates to modern day life. Christine focuses on the female form as her muse, mostly conjured from self-portraits, where she utilizes her body to manipulate feelings of a quiet rage within women in the more domestic interiors of lives not usually viewed as remarkable or unique. She works to search out the uniting thread of feminism in the dark spaces of suburban life, and looks to thrust the spotlight on the unsaid struggles and betrayals of women in our current society. Christine received her BFA from Parson’s School of Design in 1993, and after living in New York City, relocated to New Jersey where she has continuously experimented with mediums having stretched the limits from making her own oil paints to using shellac and iron filings to transforming her work to the mixed media technique she has developed more recently. Her current process uses graphite and charcoal, along with ink and pure pigments brushed or scratched on, along with oil and acrylic paint.

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