‘I’m every woman’, 2020. 78.5cm x 96cm x 3.5cm. Oil and acrylic on canvas
‘I’m every woman’ touches on the same titled 1992 hit by Whitney Houston (featured in the tape deck). This chart-topping anthem has long been synonymous with the Feminist campaign by the very nature of its theme. This canvas questions whether this ‘broad church’ of feminism always exists if many minority groups still feel excluded? The intersectionality-to name but a few-of gay (lilac lines of the ‘lavender menace’), BAME (tape), disabled (‘Wheels’ Kids club drink) and low income (monopoly dog) must continue to be addressed to ensure that feminism is truly pushing for equality for everyone and not just white, cis, straight, able bodied, middle class, women.
Beneath this triangle and fourth letter of Greek alphabet-Delta (‘sign of change’) there was a painting of Hades abducting Peresephone. This Ancient Greek myth of subjugation set the tone for modern misogyny. This was keenly experienced during the 70s as the reproduction of Chris von Wangenheim Vogue shoot of desirability and dominance demonstrate. Both images discuss the ‘beauty myth’ and its impact on women daily. However, the blurring of both effigies in the canvas aims to highlight that this ideal of ‘one shared female experience’ doesn’t exist.
The World Economic Forum projects a further 257 years before women close the gender gap. Many voices were lost during the first three waves of the feminist movement but these campaigns have taught us that a unified group is tantamount to progress. I hope that our fourth wave continues to readdress the intersections that define our experience, that those who felt previously excluded give it another try and that we can move forwards as a united front to effect change for all of us.
Vive la difference!!