STATE OF THINGS

The compositions of these three large canvases are each built around a large figure. These self-portraits assume a universal form due to their allegorical character. Riddled with references to art history, familiar places and loaded imagery, the creation of a new image is made clear.  Indeed, central to these works is te processing and originating of imagery. How does a new image come to be through unlimited variations and perpetual exchange of visual input?

A nod to the portraying of 'the female' in history is visible: From  the portrayal of the female as a  saintlike, innocent Virgin Mary figure,  to the promiscuous and willing whore. The tension between expectations women put on themselves, the patriarchal  structures and personal development is tangible. The viewer is invited to gaze upon the object that is also the subject (the artist), who in turn returns the gaze. The role of the female creator is established in all its fragility.