Pin-Up, diptych, 2019
Oil on canvas
160 x 200 cm
Currency:
Questioning the idealising myth of the feminine, this diptych addresses many issues. In Pin-Up Right, a classic 50’s image, frequently pasted behind doors of men’s locker rooms, celebrates a kind...
Questioning the idealising myth of the feminine, this diptych addresses many issues. In Pin-Up Right, a classic 50’s image, frequently pasted behind doors of men’s locker rooms, celebrates a kind of blonde beauty where curves, colour and artifice, as epitomised by Marilyn Munroe, was the object of desire. Classic tropes of the keyhole peepshow cliché are inverted in Pin-Up Left.
No longer is the figure at centre stage hierarchically alone, but here we have two figures raising the question – what is gender? What is beauty? What is the ideal? Behind these central scenarios, feet dominate a decorative blue ground of linked shapes and keep the conversation at play.
Francine Scialom Greenblatt has claimed that ‘for the lover, the focus of the gaze, fetishes aspects of the body’. Over the years, hands, feet and mouths have been portents of meaning. Feet in this context remind the viewer that whatever the disposition, certain relationships hold true.
No longer is the figure at centre stage hierarchically alone, but here we have two figures raising the question – what is gender? What is beauty? What is the ideal? Behind these central scenarios, feet dominate a decorative blue ground of linked shapes and keep the conversation at play.
Francine Scialom Greenblatt has claimed that ‘for the lover, the focus of the gaze, fetishes aspects of the body’. Over the years, hands, feet and mouths have been portents of meaning. Feet in this context remind the viewer that whatever the disposition, certain relationships hold true.
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