Series Explainer: |Contained|
The |Contained| series of paintings consists of women who are either standing or sitting, crouched or squatting, folded and/or sleeping. Their whole figure is captured within the borders of the canvas as a metaphor for women being controlled, restrained, measured, and contained. Contained can be defined as:
(a) be controlled or restrained, or
(b) to have or to hold someone or something within.
The first definition implied an external force exerting control, whilst the second interpretation is the expression of an inner force. Both meanings exist simultaneously within this body of work.
In the first instance, within this series of paintings, the constriction of the female form within a confined space represents how women are constrained by societal norms and preconceptions, specifically towards how they should look and behave. These pressures can be subtle but omnipresent and are represented here by the boundary of the canvas. Here, the female form is enclosed in a box. In this series, I am interested in the way the female form is contained within the predetermined boundaries.
Additionally, I’m also interested in the second meaning of contained. Although the figures are confined within a limited environment, the subjects do not appear distraught or concerned. They appear calm and self-possessed, alluding to inner strength and self-restraint. It's like we are witnessing a quiet moment of introspection or self-awareness. This is consistent with the second interpretation of the meaning of contained and gives a somewhat uplifting spin on an otherwise dark feminist theme.
There's a tension between the soft skin tones and the more rigid linear elements, which is intentional. I've always liked the contrast I originally discovered upon seeing Klimt's work, between areas of realism and areas of flat pattern. This element is present in nearly all work.
Product image: On Pointe limited edition print
Whilst similar in some aspects, the style of this work is also a departure from previous work. Previous bodies of work often included dense areas of pattern overlaid on top of each other. By contrast, this work is pared back, with a reduced palette and a greater focus on negative space surrounding the figures. The only area of pattern is the hand-drawn lines on the clothing that accentuate the movement within the confined space. The lines give the work a graphic quality that contrasts with the realism of the skin tones.
This variation in style was developed following a transformational 2-week artist residency I undertook in the French countryside last year. Not wanting to take my slow-drying oil paints with me, I relied on pencils and watercolors. I vowed to paint only what I felt like on the day and not to be tied to a theme or motive. Unsurprisingly, I was still drawn to figurative representation as I have always been. But working in these fast-drying mediums on a small scale meant that I worked quickly, often finishing a few works in one day. It was quite freeing and satisfying working at a fast pace, and I started to consider how to bring that freshness to my work back home.
The answer was employing simpler compositions, smaller canvases and more acrylic paint. Instead of intricate patterns, I use free-flowing lines that are organic in the way they are constructed. I have been using Posca pens, which contain acrylic paint, which are very easy to use and allow continuous, long, unbroken lines, without needing to reload a paintbrush.
This series has evolved very unconsciously and has received positive feedback so far. If you have any feedback or suggestions, I would love to hear from you.
