Liz Goldwyn was kind enough to pose for me in authentic 70s clothing from The Way We Wore on La Brea. (Not only is she luminous but also author of the magnificent book, Pretty Things)
I’m gathering old magazines from the 70s
collecting textiles and hanging them all over the studio
looking at 70s fashion on ebay…
raiding all the old family photo albums
(the artist at eight!)
It means making gouaches to work out palettes and compositions for the oil paintings.
In my series of paintings, “The Whole Story”, I investigate the roles of woman as artists and subjects of the. I appropriate erotic imagery of women in the early twentieth century to target a historical moment when the artist-model relationship was surrounded with sexual myths and Bohemian fantasies. I reverses roles and offer another way of viewing the female body, other than the assumption that such images are directed only to a male spectator. This includes recreating poses using myself and contemporary women as models. Fragmentation reflects the historical glorification of womenâ€™s body parts into elected zones of pleasure, while simultaneously interrupting the fluid trajectory of the male gaze. By assuming the role of the artist (and model) and recontextualizing these images, I place women as spectator, resituating control over the female image within a feminist representation.
I strive to advance the process; to explore the way viewing itself reinstates female power, becoming objects of her own vision. When even today there exists cultures who cover their women from head to toe, and others where flaunting is a right, notions of voyeurism, objectification and empowerment become even more relevant.