VIEW IN MY ROOM
United Kingdom
Painting, Acrylic on Canvas
Size: 60.2 W x 84.3 H x 1.6 D in
Ships in a Tube
FRAME NOT AVAILABLE I’ve gravitated to and from the colour pink. It creeps into my unconsciousness. I’m trying to push the painting so that I have to question whether it’s even a portrait anymore. I’m starting to see that my work is becoming more about love of paint, than the portrait itself. I want to paint something beautiful but also abhorrent. Something you want to touch but also don’t want to look at. This ambivalence goes to the heart of Bhaktin’s fascination with Rabelais’ carnival. The ‘portraits’ take on a C18th French aesthetic though with gilded frames turning into expanding foam, a ‘high culture’ material colliding with a ‘low culture’ building material – a kind of reversal of the Cinderella story. By using only a limited palette of pink, the paintings gain a carnivalesque aspect creating a more sinister element. In a similar way to the Feminist use of carnivalesque as appropriation of masculine sexual/gender symbolism to mock Freudian concept of penis envy and to create laughter out of masculine role-play. The images turn into a shrine, Majestic but abhorrent. The ‘sickly sweet’. Pink is often seen as Vulgar or ‘kitschy, it is one of the most vehemently rejected colour of all which only underscores its unusual biologically based effectiveness. The expectation of boudoir intimacy and Barbie chic in the paintings gives way to a kind of aesthetic of the slaughter house – how else to explain the running, pooling paint where the faces appear to have melted in some gruesome acid attack. There is a distinctively feminist tenor, the paintings confront the viewer with excessive material qualities as a deliberate visual strategy.
Painting:Acrylic on Canvas
Original:One-of-a-kind Artwork
Size:60.2 W x 84.3 H x 1.6 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
“The internal Vision (an essential element of our intimate) is warehoused in the memory and becomes the vision in thought only when recollection seizes It.” – Julia Kristeva The portrait in my more recent work has become a more stylised representation of a vanity mirror. Creating the connection between the mirror instead of an actual portrait allows the discussion of the viewer looking inside oneself but also looking out at you. You are in the same instance within the painting, but also outside of it. I’m trying to push the painting so that I have to question whether it’s even a portrait anymore. I plan the outline of the face and then it becomes irrelevant, the hair is important but the excess and the swirls even turn into clouds, to baroque decoration, no longer representing hair. I’m starting to learn that the work is becoming more about my love of paint, than the portrait itself. I want to paint something beautiful but also abhorrent. Something you want to touch but also don’t want to look at. This ambivalence goes to the heart of Bhaktin’s fascination with Rabelais’ carnival. The melting and dripping paint creates an element of losing one’s mask; “letting the mask slip”. The everyday face that one wears to hide their true feelings. It not only shows the mask slipping but also becomes a mask of its own creation. Showing that one is never truly one self in front of others. The creation of ‘self’ relates to many factors. “One(women) must consider both how they want to be seen and how one thinks they will be seen. “She becomes both the surveyed and the surveyor” – John Berger
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