Art about men
In 2011 I focused my visual art practice on the subject of men, masculinity and the role of the male model in art. This is still a central concern to me, and it seems more and more relevant as we process the manner in which women have relentlessly been objectified in real life as well as in visual culture.
The point of making art about men is not to objectify one gender, but to show how the simple act of looking in the other direction makes so many people uneasy, when it should be as pure a visual experience as any.
My husband is my main model for all contemporary works (2014 onwards).
Art about money
In 2014 I started to study money in conceptual as well as practical terms.
This led to developing an alternate identity as a personal finance blogger, but also to wanting to find a way to integrate my disparate fields of interest into my artwork. Money as a concept is utterly fascinating, as it sends out so many barbed roots into our collective consciousness, informing us as to what is valuable and shaping (or skewing) our morality - but it also makes perfect sense that I would turn to examining another 'shortcode' for power.
Just mention money and you'll be misunderstood by most people - your motives may seem fishy and your cred as a serious artist be called into question. Yet this is exactly why art about money is so powerful and unsettling.
Art about me...
There's another aspect of my art and writing that weaves its way in and out of view, and it's myself. If we're honest with ourselves as artists, self-representation is always an underlying theme; it's like the bedrock to our output, and for me, it seldom requires a spotlight.
Although I rarely do self-portraits (beyond representing myself through my models, but that's a different layer of meaning altogether), I do create a few here and there, sometimes as a way to explore a new medium.
I also enjoy drawing on my own experiences and relations as source material. It messes with people's concepts of truth and an authentic voice. That's fun.
Often, women are pigeonholed as caretakers of the domestic in the arts, as though their use of familial relationships and autobiographical material diminishes their work. To that I say a resounding "whatevs." Messing with history - my story - is my privilege, is it not?