My figurative artwork weaves together the ancient and the contemporary, drawing on prehistoric and pagan iconography of women to interrogate modern constructions of femininity and beauty standards. By reimagining figures like the Venus figurines, goddess archetypes, and ritualistic symbols, I challenge the gaze imposed by modern society and its often rigid ideals of womanhood. The juxtaposition of these primordial images with elements of contemporary femininity—such as fashion, body language, and societal expectations—creates a powerful dialogue about how perceptions of beauty and power have evolved yet remain rooted in mythic narratives.
Through this synthesis of past and present, my art questions the limitations imposed by biological determinism and explores the fluidity of identity. The rawness and earthiness of pagan symbols stand in contrast to the polished surfaces of today's beauty norms, inviting viewers to reflect on authenticity, artifice, and the ongoing struggle for self-definition. By reclaiming these ancient symbols, I not only critique modern standards but also celebrates the diverse and multifaceted nature of womanhood, echoing the resilience and complexity of feminine power across ages.
Through this synthesis of past and present, my art questions the limitations imposed by biological determinism and explores the fluidity of identity. The rawness and earthiness of pagan symbols stand in contrast to the polished surfaces of today's beauty norms, inviting viewers to reflect on authenticity, artifice, and the ongoing struggle for self-definition. By reclaiming these ancient symbols, I not only critique modern standards but also celebrates the diverse and multifaceted nature of womanhood, echoing the resilience and complexity of feminine power across ages.
Plastic Fantastic
These paintings explore the modification of the body, and how such modifications have become both normalized and desired. Like anything, the envelope keeps being pushed, and the feminine has become a series of often grotesque caricatures. It is this exaggeration of form that fascinates me, especially its relationship to the creation of impossible and unattainable beauty standards.
Sile na gigh
I have always been drawn to the obscure, to things whose origins are unclear. The things which lurk in the shadows and depths of history. The Sile na Gigh are such a concept. These bizarre carvings are to be found on the walls of churches, monasteries, and castles all over Western Europe, but are especially plentiful in Ireland. Academics cannot agree as to their origin or their purpose, with theories ranging from echoes of pre-Christian female deities to warnings against the sins of the flesh by the Catholic Church. The only consensus is that they all seem to date from between the 11th and the 16th centuries and were not originally placed where they are now to be found. They were deliberated moved from origins unknown to adorn walls and, most commonly, doorways, of other buildings.
It is the syncretic nature of the Sile that first attracted my attention – the “other” of the past mingled with contemporary religion – as well as their compelling ambiguity. To me, they represent something unequivocally feminine, of female regenerative power. Replicas are to be found in Irish maternity hospitals, echoing one theory that they were to help ease the pains of childbirth. Other theories suggest that they are fertility symbols. Despite the lack of consensus, all the extent hypotheses center around the concept of female sexuality and reproduction, and it is this element of “birth” or “rebirth” that I focus on in my continued exploration-
More about this project here
It is the syncretic nature of the Sile that first attracted my attention – the “other” of the past mingled with contemporary religion – as well as their compelling ambiguity. To me, they represent something unequivocally feminine, of female regenerative power. Replicas are to be found in Irish maternity hospitals, echoing one theory that they were to help ease the pains of childbirth. Other theories suggest that they are fertility symbols. Despite the lack of consensus, all the extent hypotheses center around the concept of female sexuality and reproduction, and it is this element of “birth” or “rebirth” that I focus on in my continued exploration-
More about this project here
