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France
Mixed Media, Acrylic on Canvas
Size: 15.7 W x 31.5 H x 0.8 D in
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40 x 80 cm, paper and acrylic on handcrafted canvas, 2023 Theorized by Laura Mulvey in 1975, the "male gaze", or "male gaze", is defined first in cinema then in other forms of art as the way in which men appropriate female bodies: camera which lingers on the legs, buttocks, chest, different lighting between male and female characters, gratuitous and exclusively female nudity, etc. The male gaze is established according to a simple equation: the male director makes his film, produced by men, for a male audience. The theory goes even further since it accuses this male gaze of conveying messages such as rape culture, especially when the woman resists for a while before giving in and finally enjoying the embrace. Sexual assault is cool in the end! In this painting, I only used male faces from different types of art (cinema, comics, painting, literature) whose gaze constitutes the very skin of the woman who hides behind her sheet to avoid as much as possible to undergo this evil gauze. Initially, I was going for something completely different for this work. It was inspired by the graphic novel “Peau d’Homme”, by Hubert and Zanzim (2020). Without having read it, I immediately loved this principle of having "man's skin" to go out on the street. I wondered what it would be like to be able to go outside without stress, without being harassed, spied on, without being afraid and being completely free.
Mixed Media:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:15.7 W x 31.5 H x 0.8 D in
Frame:Not Framed
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:France.
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France
The difficult issue of identity, duality and inner conflict is at the heart of Annabelle's thinking. Whether it is the injunction made to women (on their physique, their activities or their social status) or the personal evolution in our society (where the norm is still the only model and where the difference is stifled), the question is then the same: how do we make our deep convictions coincide with the world around us? How to assert our identity without feeling judged? Can we remain ourselves, flourish, knowing that we are constantly influenced by society, the gaze of others, social networks, money or even success? Annabelle rips, cuts and glues book pages and playing cards on the canvas, which she then covers with acrylic paint. The organic skin of the women that she portrays thus gives way to images and colors that make it possible to transcribe what they feel and who they are.
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