An Interview with Suzie Pindar, by Charlotte Elliston

Hopefully you’ve been enjoying our lockdown blog so far. This is the second in our series of our artist interviews and ‘studio visits’ via video conferencing software (check out Sian’s interview with Justine Winter for the first).

A few weeks ago I got to meet artist Suzie Pindar, who also creates under the name The Naked Artist, to talk about her artistic practice and current work. As Suzie’s home doubles up as her studio, she had plenty of material to show me and discuss. We begin by talking about some of the pieces I had seen in the online exhibition #43 Artists . I particularly enjoy her collage pieces. As a keen reader of mysteries, I find I am presented with a puzzle where I have to piece together the story from fragments. I am eager in this interview to find out whether the stories I am reading are the ones Suzie is trying to tell.

A piece by Suzie Pindar currently showing in #43 Artists

All 4 pieces in the online exhibition, and much of her work in general uses the written word, and language seems integral to her practice. Her method for creating these collaged pieces is to select an old, used book and highlight the words and passages which have a personal resonance. The books are chosen for their material, aesthetic and intellectual properties; although the words they contain are important, drawing Suzie to select the book, a bibliophile would also recognise the attention she pays to smell, colours and the texture of the paper. Once the highlighting is finished, the pieces are carefully torn from the book (another reason that the correct texture of paper is vital). Suzie then separates them into different bowls, which she picks from to create the collages. She said of the process “My thoughts become trapped in the leaves until they can be made into art” which is a very poetic thought and makes me think of my bookshelf as a cacophony of trapped thoughts, waiting to be heard.

As well as the 2d collages, she creates what she calls ‘art heads’, 3d representations of the human head built from the collaged word strips. These heads are made “as if talking to someone”. They are often created for a specific person, created from words Suzie relates to them; in effect they are a portrait of, and dialogue between both the recipient and the artist herself. Some of these include a dark humour, for example the piece ‘Dead Head’ is so named because the head fell off the neck.

Bookcover, 2018, Suzie Pindar

Suzie has been using text in her work since 2009. One of her early pieces involved cutting words and letters from magazines and using these to completely cover her body. She has also created a collaged bed frame, with echoes of Tracey Emin’s ‘My Bed’.

Like Tracy Emin, Suzie Pindar’s work is generated from internally. She looks towards herself in order to create work, and she says that her work is not created with an audience or viewer in mind but only “for myself”. She also says that often her making is “triggered by memories”, the feeling that there is an emotional state which needs to be expressed creatively. Her work feels organic, free-flowing, raw and often painful to look at, possibly due to this direct emotional creative process.

Time, 2005, Suzie Pindar

Another key strand in her work is her self-portraiture. She tells me that she sees her body as a canvas in her art; as an extension of the self. She uses her body to express herself when she feels unable to get her feelings down on paper. She sometimes then digitally manipulates the resulting images, using her instinct to create the final desired image. The self-portraits also deal with Suzie’s interest and fear of the aging process. She is interested in the physical changes ageing brings, but is also finding this scary as she has reached her 40’s. This fear is something artists have been examining in their practice forever, but can be seen as even more apposite from a female artist due to the pressures enforced on women by society and the media to remain looking young. This concern for the importance of self-image can also be seen in her dislike of social media, which she feels negatively impacts on mental health due to its reliance on surface and obsession with perfection.

Recovery, 2020, Suzie Pindar

Suzie’s nom-de-plume, The Naked Artist, represents an emotional nakedness and artistic vulnerability. The theme of mental health is recurring in much of her work. A trauma at a young age, along with family illness, leading to a severe depression is what spurred Suzie on to begin creating art. She found that creativity gave her release from her depression. Since then she has had other spells of mental illness and has always found that making and creating was helpful to her healing process. One of her aims is to “do one thing that scares you every day”, as if your life and mental health can be rebuilt after a breakdown, then anything is possible. She says that she wants her work and practice as an artist to offer hope to others that depression can be overcome.

I did, 2017, Suzie Pindar

Suzie has recently had her work published in What is Art, A5 Art, and Average Art magazines, has exhibited in Femmedaemonium exhibition, and currently has work in (Far From The) Turmoil exhibition online.

You can also see some examples of her work online https://www.thenakedartist.co.uk/ and follow her on twitter @suziepindar and Instagram @suziepindar

An Interview with Justine Winter by Sian Matthews

Continuing our series of featured artists from behind the lockdown wall, a meeting which would have included a gallery visit, coffee and cake in an actual coffee shop (remember those!?) and of course a conversation with artist Justine Winter about her practice and creative motivations has instead turned into a string of emails, sent from the safety of our homes! We are not letting this virus stop us from staying connected and having important discussions about art and the things that matter to us most. Hopefully once this crisis is over we can resume our original plans and update this blog, but for now…..

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Artist – Justine Winter

Primarily working with performance, video and installation, Justine explores themes of femininity to comment on and question the taboos surrounding women’s bodies as well as the importance of women and their voices within a patriarchal society.

My first encounter with Justine’s work was back in 2018 when I attended the private view of Free Range at The Old Truman Brewery. (if you have been reading our blog for some time you may recognise Justine from our previous post The curious, moving and brilliant new work of the 2018 graduates) Exhibited with Hereford College of Arts was Justine’s piece ‘Beauty is Pain’, and installation featuring wilted flowers pinned to the walls and entwined with vine like ropes woven from human hair, kindly donated by friends, family and in donation boxes dotted around her university. Embedded within, a video (linked below) showed the dry shaving and plucking of hairs from a friend’s body. The intent being to question the implied beauty standards for women in our society and to confront the taboo of women being seen having (or removing) body hair.

I remember seeing this piece as I walked into the room, the video playing in the corner with the flowers and vines creeping across the walls either side. It was bold yet graceful in its delivery and I was drawn in straight away. I knew this work had something to say to the world and I found myself wanting to hear it.

Eager to learn more about Justine and her practice I asked her about her time at university, how she came to work with themes of femininity and why she works with the materials she does. I was surprised to learn that she originally moved to Hereford to study BA Textile Design, but later transferred to Fine Art after discovering a need for more freedom and fluidity in her creative process as well as a shift in interests away from the more commercial ideas of textile design. On this move Justine said, At first this course unpicked my previous ideas of what art was, and provided me with a new, fresh way of thinking about ideas and themes within my work.”

And when I asked if she still works with textiles, or any of the techniques that go along with it she said I started the fine art course in a bit of a rut material wise, I had used all different mediums such as clay, drawing from reference, woodwork, video etc on various subjects. But these just didn’t feel as though they expressed what I was passionate about. I started to go back to my roots of using textiles as this felt the most comfortable. I decided on machine knitting where I started to incorporate my hair into the piece, this turned into three large hangings and they felt as though I had finally found my ‘thing’.”

Justine admits that her biggest influences are observing, learning from, and developing ideas around everyday life and experiences. She is also inspired by Carolee Schneemann, an American artist best known for her experimental multimedia works which explore sexuality, the body and gender.

 

Stemming from her interests in the everyday Justine uses ‘live materials’. These are things which she describes as living, dying, and decaying; for example, using pomegranates to represent the female body, and then letting them decay over time. She also includes her own body in performance work, along with hair and nails. On working with these materials Justine said I enjoy using materials that will decay and change over time, which for me causes the work to be alive. I feel as though by adding these elements of myself into the work, it creates a connection to the piece. There is an element of beauty that is added to the work through using materials that can live within it as their lives are being observed and admired.”

More recently during her MA Justine was given the opportunity to complete a residency which would in turn contribute to her course. Originally from the Rhondda Valleys in South Wales Justine chose The Big Pit National Coal Museum as both a link to her heritage and to explore the themes of her work within a predominantly ‘male’ environment.

While at the museum Justine had the chance to hear stories of what it would have been like to live and work there from ex miner and mentor Ceri Thompson. As well as take tours of the pits themselves, explore a boneyard for old machinery and equipment, she learnt about the women who would have spent time and worked at the mine, who’s voices have now sadly been forgotten. These stories, conversations and tours are what influenced her final creative outcomes as well as the works she created at the mine itself.

In total Justine made six works which were in direct reference to the mine itself and the time she spent there. Created both at the mine and back in her studio at university these works reflect upon not only the lives touched by the mine and the history of the place but also I am sure mimic the stories and connect the lives of people from mines up and down the UK. They seem to be a way for Justine to link who she is as a woman and a feminist artist now to her heritage and the broader histories of South Wales. Admittedly, when Justine first told me that she had participated in a residency at the coal mine, and knowing only of the work she had made previously I was a little sceptical of the connections between the two but was fascinated none the less. Now having heard what she has to say about the work produced during this time and the reasons why she chose to make work in such an environment I think it’s truly unique and find myself wanting to experience the work in person and learn more!

At this point in the blog I should probably show the work and explain it to you, but I think it is better to let Justine explain each piece in her own words.

“The piece ‘That’s the Price of Coal, See’, was created in the space at my MA exhibition. I was given a large room with breeze block walls and metal beams. I wanted to show the work produced from a performance to camera in this room because of its industrial aesthetic, and because it resembled a place of work to me.

This work wasn’t created at the pit purely because of the size of it, being around 14ft in length and width, I also wanted the work to be created within that room, as I felt the materials that I was using such as the pomegranate, could live their life cycle in the space.”

“Along with this work, I created five other pieces. The first, ‘Bread of Heaven’, was a film that I recorded at the colliery and shows an original decaying lift shaft with a sheet tied to it. This sheet represents the domestic life of the women behind the miners, it has spilt pomegranate juice over it which is a reference to the suffering that both men and women would have endured.

With the film, was the song Bread of Heaven sung by a male choir. A traditional Welsh song that was sung by the working men.”

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“The second piece, ‘Cradling’, was an image taken following the performance piece ‘That’s the Price of Coal, See’. This image was projected on the wall opposite the work and depicted me cradling a segment of the crushed pomegranate, a nod to the women who were raising the children and protecting the home.”

“For the third piece, I referenced the song Bread of Heaven again and before I started displaying the works in the space, I sat alone at night in the room and sang the hymn into a recorder. The recorder was then set with some headphones onto the wall. This singular, female voice contrasted with the drama of the male choir and created a feeling of empowerment and a tribute to those working women hidden behind the working men.”

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“The fourth piece in this room consisted of a table with a mechanical part from a machine found at the pit, surrounding this were a selection of dried wipes I had used to clean the coal off my body after the performance.”

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The last piece displayed two pieces of fabric splayed using nails to the wall. One piece was the clothing that I wore during the performative piece, now covered in old fruit and coal dust.

The other was a piece of fabric covered in coal, dust and rust I found on some machinery at the top of the colliery, where the old machines were left to decay.”

 

 

Which leads us to now. I was keen to find out what Justine had been up to creatively after finishing university. Like a lot of people, she admitted to struggling to keep up with her practice after finding herself out of education for the first time ever and without a studio or dedicated space for making. So, for now Justine is taking a break from making artwork and is instead focusing on working and saving money for her future.

I asked if there were any projects which she had been dreaming of realising soon or if she had any plans to exhibit her work in the future (After Covid obviously!), and was pleased to learn that at some point Justine would like to take the work she created during her residency at the coal pit and drag it through the mines as a performative piece! Which sounds amazing and I would love to see!

At the start of next year Justine has planned a solo exhibition back in her hometown of her mining work, saying It is so important to me to be able to show the work in the valleys where mining was so huge.”

This exhibition is due to take place in the attic of The Factory in Porth (where Dandelion and Burdock was created!)  between the 15th of February until the 5th of March 2021, with the private view being the 1st of March (St David’s day). Obviously it’s a long way off yet but I’m sure if you follow Justine on Instagram  and keep an eye on her website you can keep up to date with the exhibition plans (if you’re interested in seeing it) as well as everything else Justine gets up to!

And finally (I had to ask because what else is everyone talking about right now?), I asked Justine if she had been doing anything creative while in lockdown. Embroidering feminist slogans onto a t-shirt was exactly the answer I was looking for! As well as finally getting around to painting her attic and transforming it into a studio!

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I thoroughly enjoyed talking to Justine over the last couple of weeks, it has been fascinating learning about feminist art in a coal mine and on a more personal level I have appreciated having someone to chat to during these strange times. I hope the same is true for Justine and I hope our blog provides you with something thoughtful to experience and to break up your day during lockdown.

This will soon pass Sweet ‘Arts and when it does and we’re allowed out of the house, we will update this blog with our meeting and maybe some new art!

But for now, if you want to see more from Justine, I have linked her social media, website, and YouTube below!

 

Instagram – @Justinedianeart

https://justine-dianeart.weebly.com/

YouTube

International Women’s Day 2020 by Charlotte Elliston

This week in the UK, we are celebrating the start of Women’s History Month, as well as looking forward to International Women’s Day on 8 March.

As an organisation working from an intersectional feminist standpoint, we love to take part in International Women’s Day and have had some (even though we say it ourselves) great events; from Y Not? , where we partnered with sister organisations Lensational and LPM to exhibit artworks internationally, to T’Art where we created our first collaborative zine and smashed the patriarchy in the form of Donald Trump, to our recent Intersect portraiture project at WOW Festival. Not forgetting of course, that Sweet ‘Art itself was founded with Show#1, our very first exhibition which took place for IWD 2013.

This year, we are having to take a back seat. An exhibition, to make it the showstopping all-singing-all-dancing event that our artists and visitors have come to expect, takes an awful lot of work (the vagina cupcakes alone take 2 days work). With limited time (and funds), we want to focus our energy in creating something more permanent – a home for Sweet ‘Art which we can occupy for longer than a week or two. So this is what we are working on behind-the-scenes, looking for ways to make this work.

We know that the work we do is still needed; The National Museum of Women in the Arts in Washington, currently the only museum in the world dedicated to female visual artists, is using the hashtag #5WomenArtists, asking their followers if they can name five women artists – because, unfortunately, many people can’t!

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Looking back to our Intersect project in 2018

And we know lots of people have heard this before, but for those of you at the back, here are some stats about representation of women in the visual arts in the UK.

  • Only 9 out of 34 Turner Prize winners have been women (excluding this year where all 4 of the nominees shared the prize).
  • In 2017 only 28% of artists represented by major commercial galleries in London were women. (and over the past decade, 83% of LissonGallery’s solo shows, 71% of Hauser and Wirth’s solo shows, 88% of Gagosian’s shows, 76% of White Cube’s shows and 59% of Victoria Miro’s shows were by men)
  • At London’s major institutions only 22% of solo shows in 2017 were by female artists, falling by 8% since 2016 and by 3% since 2014–15.
  • In the National Gallery’s collection, paintings by female artists comprise less than 1%.
  • In terms of auction sales, the top female artist in 2018 was Yayoi Kusama, with sales of $102,532,176- far below the top male artist Pablo Picasso’s $602,865,747

So hopefully we can all agree that women continue to need support in reaching equality in the artworld. And that goes for double and treble when you look at things from an intersectional point of view and consider women with disabilities, trans women, women of colour, women from a working class background…

If ‘the arts contribute to collective identity through shared stories of experiences, including ones that challenge viewers to recognise the perspectives of the other’ then we really need to hear the voices of a multitude of women.

Sweet ‘Art are proud to have shown work by around 400 female artists since our formation, 79% of our total exhibited, in over 30 exhibitions. We hope to continue bringing you all exciting and challenging artwork for years to come. Thanks for all your support!

If you’ve ever been to a show, read our zine, had your portrait drawn or even checked out our pictures and artist work online, you might like to consider supporting us with either a one-off donation or via Patreon. For International Women’s Day we are offering our supporters an additional gift; if you are already a patron, or if you sign up to any tier between now and 9 March 2020, we are going to gift you one of our fab ‘reclaim’ totes as a thank you! Go on, you know you want one!

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Nab yourself a fab ‘reclaim’ tote by becoming our patron.

A belated Frieze week review by Sian Matthews

Well over a month after the big event I still have a lot I want to say and discuss, good and bad, about all things Frieze 2019.

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This year’s fair had a focus on the climate crisis and demonstrated this by including artworks such as Patrick Goddard’s ‘Blue Sky Thinking’ which uses hundreds of dead parakeets to ram the message home.

However, I haven’t seen much in the way of the fair itself addressing its carbon footprint, the only steps it seems to have taken this year is to switch to using biofuel.

One of the interactive projects this year was by the organisation Arto LIFEWTR who thought it was a brilliant idea to use PLASTIC bottles to display artworks by emerging artists and hand them out to visitors, along with pins by artist John Booth in exchange for posting about them on social media. I feel like I must have missed something on this because it just seems too tone deaf to be a real thing? I literally saw these bottles discarded everywhere all week.

Including at TOAF and Tate modern.

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I can’t understand why a fair with a focus on the climate crisis included an interactive installation which was centred around plastic bottles, something which as a society we should be using less of. Also, as I am writing this I am sat with a stack of handouts, newspapers, maps, all the paper that gets thrown at you while visiting the fair.

For a fair talking about climate change and carbon footprints there was a huge amount of waste. Something to think about.

Moving on to something more positive, One of the live artworks which I particularly enjoyed was an interactive artwork in which the participant becomes part of the piece after being asked to hold a feather duster perfectly still and to concentrate on not moving the feathers. Of course, this is impossible as the more you try the harder it gets. The feathers pick up the participants heartbeat and breathing so that you physically cannot hold it still. After the frustration subsides and you concentrate more on the movement of the feathers in time with your own heart beat it becomes quite relaxing, almost meditative.

 

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Woven: a curated set of stands at the far end of the fair focused on artists who work with fabrics, sewing, embroidery and other textile mediums was, I thought, one of the most thought provoking parts of the fair, and was pleased to see a less mainstream medium being celebrated. Included were Chitra Ganesh, Monika Correa and Cian Dayrit as well as many others. Working with themes and ideas such as Gender, Power, myth and reality, and historical narratives.

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Included in Woven was artist Angela Su who I completely adored and who’s work investigates perception and imagery of the body through metamorphosis and transformation. The works on display were almost like scientific drawings, delicate and beautiful, yet so real they were a little uncomfortable to look at. Looking closer at these drawings you realise they are incredibly intricate embroidery and honestly, I could have starred at them all day.

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Last year I mentioned that I was concerned that the representation of women at the fair was more of a fashion statement and less about real change. Although I stand by my concern, I was pleased to see that a lot of galleries embraced diversity this year, this was mainly the smaller galleries and stands but it was there, nonetheless. I noticed a lot of attention being given to artists from African nations which was fantastic to see, and I appreciated the introduction to some new an exciting artists.

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I also attended The Other Art Fair for the private view and at the risk of upsetting some people, I don’t have much to say about it. I always enjoy going, catching up with artists and friends but recently I feel like it is getting repetitive. I’m not saying it’s a bad fair, I would just like to see something new.

Finally, I visited the new Hyundai Commission at Tate modern which this year features ‘Fons Americanus’, a 13 meter tall fountain by artist Kara Walker. Inspired by the Victoria memorial outside Buckingham palace but exploring ideas and themes resulting from the transatlantic slave trade. I have long been a fan of Kara Walker and to see her work in the setting of the turbine hall was something quite special. Its open until April so I recommend a visit!

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A Women’s day Experience by Sian Matthews

I had a bad experience for International women’s day and it helps prove how far we still need to go.

A friend and I decided to spend IWD at a few galleries in London which were holding exhibitions and tours about women artists, the female gaze and the influential women who helped shape certain institutions. I hadn’t seen my friend for a while, I was looking forward to celebrating women and art with her.

The day started strong with a coffee and a catch up before moving on to the newly opened Richard Saltoun gallery in Mayfair. The first exhibition held at this new gallery space, ‘Women Look at Women’ explored themes such as feminine identity, censorship, gender stereotypes, sex and relationships through the work of thirteen international artists. The exhibition included beautiful but honest black and white photography by artists like Renate Bertlmann, Francesca Woodman and Annegret Soltau, as well as sculptural works by Helen Chadwick.

It was great to experience an exhibition, curated by a woman, working with female artists, feminine themes and the female gaze. You know, other then when Sweet ‘Art does it. For the most part I was impressed by it. The exhibition felt refreshing; it was clean and well thought out, and most importantly for the viewer, it was insightful and thought provoking. Of course, any exhibition has space for improvement, to learn and ensure you do things better the next time. ‘Women Look at Women’ could have been more inclusive. It could have included a wider, more diverse group of works, but it did what it was meant to do well enough for me.

After such a great start you will understand my disappointment and, honestly, outrage at our next visit.  This year for International Women’s Day, the Royal Academy intended to celebrate with ‘Feminine Futures’, a series of events and tours from the 1st – 10th of March.

We got to the RA at noon for the IWD tour, which was billed as an event that will “explore the lives of some of the important women in the history of the RA”. What we were greeted with however was anything but!

Before I explain why I was so disappointed, I should point out that this tour was one of six or seven delivered over ten days. The tour is presented by a different guide each day and therefore is different every time. For all I know the rest of the tours were spot on.

To start, the male guide took us into a small corridor next to a staircase which was decorated with photographs of the current eighty academicians. He pointed out Tracey Emin and Cornelia Parker and briefly spoke about them (they were the only female artists mentioned for the whole tour). He then spent the next 5 minutes talking about several of the men on the wall.  He made no effort to mention any other female academicians, he didn’t even mention Sonya Boyce, the first woman of colour to be made a Royal Academician, as recently as 2016.

Moving on he spoke about two paintings depicting some of the life drawing classes at the RA many years ago. These paintings showed female models being drawn by male artists and were themselves by men, although I cannot remember who. While standing in front of these paintings we were told that at this point in the RA’s history, women were banned from attending life drawing classes because it was thought that it objectified them. The guide also informed us that all female life models were from local brothels as it was inappropriate for women other than prostitutes to model nude. But according to him, all of that was ok… because they were paid a little more than their male counterparts.

Throughout the rest of the tour the guide spoke about not only the building it currently occupies, Burlington house, but also when it occupied the top floors of Somerset House and the National Gallery. He spoke about the architects, the owners of buildings and artists who have worked within the RA: all men, including Constable and even Churchill. It would have been far more interesting to tell us the little-known fact that’s among the 34 founding members of the RA there were two women! Mary Moser and Angelica Kaufmann.

A few times other members of the group asked about the role of women at the RA, which was met with the guide asking if any of us were artists and what our practice consists of. Both myself and my friend answered, explaining that we are installation artists with an interest in the work of the YBA’s. So we were already familiar with Tracey Emin who’s work he promptly explained to us as if we had no idea who she was. ‘My bed’ he said was a “product of her realisation of the mess around her” not exactly what I would call an in depth, insightful or accurate description.

'My Bed' by Tracey Emin

Right at the end of the tour, after someone asked about them, he briefly mentioned the suffragettes, how they had “slashed a couple of paintings in protest” basically referring to them as trouble makers who had ruined a precious painting. There is a lot of information to be found about this incident at the 1914 RA Summer Exhibition on their own website, surely a tour guide at the RA should be able to talk freely and in a respectful manner about this event?

Reading back through this it probably sounds like I am making this up. But I can promise I am not. You expect to come away from a tour of influential women at the RA feeling proud of what these women achieved in an industry that wasn’t always accepting, I expected to hear about how the women before me helped to pave the way for myself to be an artist and work in the arts today and instead I was told about how women had been mistreated by the RA until after WWII. I left feeling deflated, like we had gone backwards for an hour and honestly, I was angry.

Another point I feel I should add here is that on the 8th of March, International Women’s Day, the same day I was trying to celebrate with a friend. An exhibition opened at Tate Modern, all about famous “ladies man” Picasso.

After all of this I had just one question on my mind. How did such a small gallery in Mayfair, and countless other small organisations manage to get their shows and messages so right when the big institutions with all their money and resources get it so wrong? Do they not care? Do they not listen? It seems ridiculous to me and it highlights just how far we all still must go in not only getting, but understanding and respecting equality.

Threesome – an exhibition of three women painters, by Charlotte Elliston

As it was recently the 100th anniversary of the Representation of the People act, which gave women who were over 30 and property-owners, the right to vote in the UK, and will soon be Women’s History Month (including International Women’s Day on 8 March), the Sweet ‘Art team will be trying to see, and post about as many relevant exhibitions and events as possible.

First up was a visit to New Art Projects gallery in London for a panel discussion about their current exhibition Threesome. Threesome is an exhibition featuring artists Roxana Halls, Sarah Jane Moon and Sadie Lee, and has been curated by Anna McNay. The focus of the exhibition is the female gaze; each of the artists are figurative painters, female, and identify as queer.  This follows on from the recent Tate show Queer British Art, which was a show timed to coincide with the anniversary of the  1967 Sexual Offences Act.  This was a great show of art by gay white men, but was a bit lacking on other forms of queerness. Threesome was partly intended as a response to this – showcasing the work of three contemporary lesbian artists. I knew in advance that the premise of the exhibition was that each artist was painting each other as well as themselves, and had also each painted a nude study of performance artist Ursula Martinez. (Along with Corrina, and some of the fab WIA group, we had recently seen Ursula in discussion with Sadie at the National Portrait Gallery for their Queer Perspectives Lates).

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Sadie Lee and Ursula Martinez in conversation at Queer Perspectives

So I was excited to see the full exhibition, and the works ‘in the flesh’ (pun intended) rather than just as images. The event featured all artists and Ursula Martinez in discussion with Anna McNay, and the gallery has said that the full transcript of the discussion will be added to their website in due course. I highly recommend keeping an eye out for this! The discussion began with Anna McNay inviting each of the artists to discuss their works in turn, before moving on to the portraits of Ursula and finally opening up the discussion to encompass more general themes from the exhibition.

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Portrait of Sarah Jane Moon, by Roxana Halls

 

Each of Roxana Halls’ portraits use heightened colours (in the discussion she mentioned positioning her subjects within a set of neon lights to create the effect) and stylised poses reminiscent of dolls, to create what I would describe as a ‘nightclub’ effect. Her subjects are flanked by mannequins dressed as iconic lesbian characters from films and are posed almost as if they are mid-dance. For most of the discussion I was facing the portrait of Sadie, and (I don’t think it was just the fact that she was wearing glasses), I was reminded of some of the iconic images of Grace Jones. I attributed this mental link to the almost luminescent skin tones Roxana created, and to the strength and power of her images.

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Bulletproof Heart album cover.

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Ms Jones in 1984 in London, by Adrian Boot

In the discussion, Roxana said that she often uses mannequins within her work, not always so explicitly. Her reason for doing so is that straight male film directors will often use mannequins in their films to represent lesbian women; somehow implying that lesbian women are not quite ‘real’ women, or not quite human. Judith Butler says in her essay Imitation and Gender Insubordination “I suffered for a long time, and I suspect many people have, from being told, explicitly or implicitly, that what I “am” is a copy, an imitation, a derivative example, a shadow of the real”. This was echoed by the ideas present in Roxana’s work

The discussion of the use of the mannequin to represent lesbian women also made me consider the myth of Pygmalion, and the use of this trope in art and culture. Pygmalion was a sculptor who fell in love with the figure of a woman he had carved, and she was brought to life with magic and became his wife. The myth has been widely used in painting, film and literature.

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Pygmalion and Galatea, by Jean-Léon Gérôme

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Still from the film, Mannequin, dir. Michael Gottlieb

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Still from My Fair Lady, dir. George Cukor (They changed the ending from the original play to add ‘romantic’ interest)

In both the straight and queer versions, these tropes appear to be created with the fear of the unknown, and the desire to impose control by not just objectifying, but actually making the woman into an object. The myth also places the creative agency in the hands of the male, whether that be the sculptor Pygmalion, shop-window dresser Jonathan Switcher, or linguist ‘Enry ‘Iggins. In these instances not only a creative, but a sexual power is also conferred to the male as in each instance, the bringing of the ‘mannequin’ to life results in sexual union.

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Portrait of Roxana Halls, by Sadie Lee

 Sadie Lee’s work focuses on the ideas of intimacy and sexuality. Her three artist portraits are reclining figures, shown in their underwear, on rumpled beds. Within the discussion, Sadie said that her aim was to use (and I think to subvert) the traditional Venus pose, where the subject had one arm bent over her head, and another around her waist.

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Venus Anadyomene, by Jean Dominique Ingres (with a barbie-doll genital area)

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Venus Williams, taken by Hirakawa for ESPN Magazine

Her portraits were created by looking at the subjects from a position between the legs (described by Sadie as a position a lover might see them from), lit from below with a harsh raking light. They pick up qualities of the skin like dimples and stretch marks. The underwear is everyday; big knickers, 100 denier tights, bras with the label sticking out. In the discussion, Sadie said that she wanted the portraits to be real and mundane. She deliberately used a harsh light, to challenge traditional notions of female portraiture equalling female beauty. Her aim was to contest the thought that a portrait of a woman has to be flattering.

The portrait of herself was based on Giorgione’s Sleeping Venus, where the model is purportedly using her hand to hide her genitals, but could equally be masturbating.

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Sleeping Venus, by Giorgione,

Sadie’s self-portrait replicates this pose, but turned away from the viewer in order to make the pose “more threatening”. She explained that by turning her back on the viewer, she removes complicity in the voyeurism. The subject knows that the viewer is there, but is performing the act for herself and not them. Sadie’s portraits lie in direct contrast to the European tradition of the female nude, in which the subject displays her nudity for the observing male’s pleasure. John Berger sums this up in Ways of Seeing “In the art-form of the European nude the painters and the spectator-owners were usually men and the persons treated as objects, usually women. This unequal relationship is so deeply embedded in our culture that it still structures the consciousness of many women. They do to themselves what men do to them” – I really hope Venus Williams actively sought out her nude photoshoot of herself as a Venus!

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Portrait of Sadie Lee, by Sarah Jane Moon

Sarah Jane Moon’s portraits were created with the aim of giving her sitters agency. The fact that they are all painters was important to her, and she wanted to show them as creators in their own right. Each of the portraits was painted from visiting the artist in their own studio, and the studio features as a backdrop. Each of the artists is also featured holding a tool of their painting. The subjects all stare back at the viewer, making eye contact which is direct and unapologetic and could even be described as challenging. The paintings show that in each case the viewed is also the viewer.

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Self Portrait in a Straw Hat, by Élisabeth Vigée Le Brun

Sarah’s portraits made me remember the self-portraits of Élisabeth Vigée Le Brun, the 18th century French painter, and the thoughts of Griselda Pollock on this piece in particular. The artist has painted herself with the tools of her profession, but she is also portrayed as unambiguously female. She is well groomed, well dressed and beautiful. The shadow of her hat across her face and her gaze avoid confrontation. Her mouth is slightly parted in a demure smile. Pollock says that the aim of the piece is still to create a spectacle for us, the viewer, as through Western art history there has always been “an insuperable distance between the notion of the artist and the notion of a woman”.

Sarah’s pieces also critique the tradition of portraying the male artist in his studio, with his female (nude) model. In two of her portraits, we see completed works, or works-in-progress depicting naked female bodies. Within the discussion, it was revealed that one of the pieces behind Sadie was actually a self-portrait, further subverting the idea.

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The Artist’s Studio, by Gustav Courbet

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Lucian Freud, shot for Vanity Fair

Although each of the Threesome painters has a very distinct style, and is aiming to explore different things within their work, the discussion also drew out common themes. The idea of agency seemed very relevant. It seemed important to each of the artists that they were not simply producing a passive image of someone, but were creating a piece where the subject was active, dynamic and powerful – in some cases, stripping the viewer of their agency and relegating them to the role of passive consumer.

The discussion ended with the questioning of what is different about the female gaze. The panellists mentioned ideas of empathy, truth and respect; possibly even love, certainly from a queer female perspective. The point was also raised as to whether defining the female gaze was reductive. Is art created by women inherently different to that created by men? Should differentiation even be employed between art created by women and that of men?

 

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Anna McNay, Sadie Lee, Sarah Jane Moon, Roxana Halls and Ursula Martinez in conversation

There was also the acknowledgement that the idea of the female is seen through a history of the male dominated society. Notions of femaleness, and queerness are both linked to notions of otherness, perpetuated in the Western art tradition, so what does being ‘female’ even mean – how can this be defined in a society which has always just seen ‘female’ in opposition to ‘male’ and ‘queer’ in opposition to ‘heterosexual’.

The theory of there being a somehow unified female gaze also implies that there is a shared way of looking which links women through history and across the world. Griselda Pollock also references these kinds of theories that art produced by women has commonality, saying that this idea will “…efface the fact that although women as a sex have been oppressed in most societies, their oppression, and the way they have lived it, or even resisted, has varied from society to society, and period to period, from class to class. This historicity of women’s oppression and resistance disappears when all women are placed in a homogenous category based on the commonest and most unhistoricized denominator”.

Many of these discussions and debates are far to large and unwieldy to continue here, but I am sure that we will touch on them again in our various exhibition visits. I also again recommend getting down to see the show for yourself before it closes. It is also running on conjunction with 3X3, also curated by Anna McNay, which is a photographic show from 9 queer female artists.

Threesome opened on 11 January 2018 and runs until 4 March 2018 at New Art Projects, London.