I started off thinking about traditional Western portrayals of women and femininity. And what could be more typical than the Virgin Mary? The perfect mother rather than the fallen woman.
I was interested in exploring how these ideas were still alive in the twentieth century. And breaking these down and building up my own pictures of women.
I decided to go back to the beginning and think about women and their raw connections to the land, to folklore and to classical tropes. Thinking about strength and power as intrinsic to womanhood.
I asked what would happen if I combined classical statuary with contemporary unperformative femininity. Could I recapture some of the magic of the woods?
Setting Aboriginal and Western art styles in conversation to explore our disembodied selves.
Windows and light, folds and composition, portraits are often about more than just faces. So I turned to Gabriel Rossetti for his way with cloth, and to Childe Hassan to understand light, windows and composition.
My self-portrait sees me exploring if I could imbue an apparently conventional depiction of elegance with something of the loss, absence and effort of self-composure that comes with performing a particular kind of femininity. And to think what resistance might look like.