Re-working the classic – ironic iconographies of the female form

At the intersection of powers (assujetisement), 93x33x4cm framed) unfinished version 


Paintings that explore women’s experience and lived reality and parody classic rhetorics of painting. These works utilise and play with conventions of tableau and decoration, imitating and reworking classic figures from historical works that created allegories for the concreteness of human presence. They slyly condemn the way in which the female form has been associated with nature or used as a vehicle to represent male values.

Like the figures or pallid personifications in Chavanne De Puvis’s The Sacred Wood, these female figures are no longer merely allegories for virtues or for various realms of learning – which women ironically were not admitted to – these figures gesture and mock, creating alternative meanings that belie their beauty.

medium sized painting catalogue 2019

These paintings are compositionally premeditated, beautifully drawn and then subverted by clumsy bitumen and paint processes. There are strange additions – of washing machines, small children dragging at skirts, playful or painful gestures and fragmented architectural features.

As yet this is a new project with work continued to be framed by Nigel Bispham. for more information about the framing process read on… Framing Collaboration

These paintings link to Domestic Dystopias paintings that I think of as apocalyptic visions of mothers’ lived reality. Cartoonesque, they are funny and menacing. They enter into the monstrous assertion that mothers fail and that we are all the products of failure. They hope to break the usual depictions of mothers’ lives and the domestic that often only represent the ideal, the monstrous or the mundane.