oil paint on stretched canvas
h: 63 w: 63 d: 3 (cms).
In all of my self-portraits, I reflect on how my smartphone has become an extension of both my mind and body, how my iPhone (an eminently portable machine), is not only re-defining what has historically constituted to what it means to have a body, but also how the world found in our pockets is dominating methods of communication and how we see people in our current technologically mediated communities, highlighting a breached boundary between how mine and others’ minds, bodies, and smartphones jointly define a hybrid existence of being in the world.
My infatuation with digitisation and sub-genres of screen culture is embedded into this self-portrait, using the concept of transferring a 'selfie' into paint.
As a woman, I use my self-portraiture to empower msyelf, as I am able to make myself up beyond the types of images on women we expect to see on screens. I have become interested in methods and ways in which women can represent and make themselves up in the age of social media I question how we can navigate horizons of the self and others in the twenty-first century. I hope to use my paintings to research further and provide insight into disrupted kinds of realism, and how self portraits such as 'Small Sips,' are in fact becoming More Than Real, and how the difference between selfie taking and painting traditional Self-Portraits both come to negotiate how quickly we are coming to document ourselves, and see us interact with billions of enigmatic online-faces via our current world-picture.
By taking such a mundane image of the self drinking from a water bottle, which is the type of image I send to friends, I further the use of these Selfies, by taking them off screen and using them as a conceptual system of communication the face-work of each of my self-portraits which come to function like that of emoji and memoji ideograms (usually used in the absence of physical facial expressions in online multi- modal communications.)
oil paint on stretched canvas
h: 59 w: 49 d: 3 (cms).
My Self-Portrait series, More Than Real (2020), aims to visually reflect how my smartphone has become an extension of both my mind and body. I interrogate how my iPhone, an eminently portable machine, is not only re-defining what has historically constituted to what it means to have a body, but also how the world found in our pockets is dominating methods of communication in our current technologically mediated communities.
The smartphone silhouette in this painting reveals a transparency to how the image was made. The selfie features the cast of a handheld devices with a diagonal axis, sometimes considered a disadvantage in hand-held device image-making. Usually, this kind of silhouetting creates a sense of mystery in photographs, however I believe a loneliness is revealed through the clear way the self has made the image of the subject which is myself. Conceptually, the research behind this painting aims at conveying how an average western woman has been crafted to be self- obsessed through screen-culture as part of our current world-picture, which demands selfies on social media posts, profile pictures, dating apps, review sites and many other platforms that require us to leave impressions of ourselves all over the internet.
Through an infatuation with digitisation, I question how we can navigate horizons of the self in the twenty-first century? I use elements of subtext and fantasy alongside my everyday self to highlight a breached boundary between how my mind, body, and smartphone jointly define a hybrid existence of being in the world.