Shine
Using Jean-Léon Gérôme’s provocative ‘A Roman Slave Market’ (c.1884), I have taken the sensuous figure of the objectified woman and placed her in London’s West End.The array of neon signs clarifies which part of London we are in and the environment in which she finds herself.This collection, looking at social media vanity, could not be better supported by this image of exhibitionism. Her erotic beauty is undeniable but her body language understandably suggests oppression in the original painting as men barter for her services. However, I found this interpretation a significant point to re-address. In my painting, the viewer is asked to re-evaluate this prejudice. Do we really know what this woman is feeling? Her arms thrown up could simply be part of a dance as she enthralls her spectators. In this modern setting, could it be condescending to presume she is a victim? I paint her, not as someone who needs rescuing, but as a woman who has the courage to know both herself, her body, and as someone who has the resourcefulness to know there is another way to put food on the table.
People love to judge. Burlesque is a nostalgic art form, call it stripping and it is something else, yet Instagram is flooded with girls eagerly objectifying themselves to attract followers without the justification of earning money, just the enticement of provoking anybody to be their fans in the nebulous world of cyberspace. However you prefer to name it, exotic dancing, pole dancing or burlesque, the woman in my painting is a priestess, a beautiful siren who knows exactly what she is doing and why she is doing it. There is a classical look to her which presents a rich contrast with the brashness of her Soho surroundings and there is also a lightness to this painting, a humour which offsets the deeper themes - the ‘Bada Bing’ sign and Mickey Mouse with his tongue hanging out.Yes, much like the many signs that surround her, she shines!
Oil on Canvas | 92cm x 82cm
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