Two people described one of my paintings as ‘nice’, so I did not include it in this exhibition. I don’t want my paintings to be ‘nice’. I want them to hurt. I am testing the boundaries of taste. I am playing with the contradiction of attraction and repulsion.

The figures in the paintings are strong, powerful, larger than life. They are not delicate, fragile or ‘nice’. They are not the way the male gaze has often portrayed women in art history.

Throughout this history, women have been painted as passive, submissive objects. Perhaps remarkably, these paintings are still treasured. And I cannot help but ask myself: is it still ingrained in us to look at a painting of a nude woman painted to be passive and ignore that this is an objectification? I think that sometimes, perhaps oftentimes, it is. Contrary to this form of painting, the figures in my paintings are the ones in control. They know you are here; they want you to look at them, and they will look straight back. This is to challenge and confront the male gaze, along with patriarchal society.

Feminism has come a long way. But there are still essentialist expectations very present in contemporary society. A classic feminine ideology that still exists is beauty. In fact, due to social media and money-hungry companies bombarding women with supposed new flaws cooked up to take advantage of the beauty-pressured woman, it is probably stronger than ever. Women and girls have nowhere to escape from the image of the unachievably beautiful, thin, white woman they see everywhere. So, I’ve twisted up the concept of beauty. The figures’ faces in my paintings are constructed with features that represent the set beauty standards of society (big lips, big eyelashes etc.) but in a way to look ugly and undermine these essentialist standards – and the pressure that comes with them. They send a message: as a woman, you do not have to be beautiful to be powerful.

Additionally, in some parts of society, women’s sexual desires and pleasures are still deemed unnecessary or even disgusting, whilst men’s are essential and fundamental. The figures in my paintings are unapologetically in touch with their sexuality and are in control of it. Whether they are seducing the viewer on their terms, or having a vibrator or dildo visible in their space.

The patriarchal idea of slut shaming and that a woman must be modest to be respected is still present in society. I am trying to fight against this idea in my paintings.

Despite the artificial style, the figures are relatable. This is due to the fact that they are progressing with their liberation. In other words, although they have chosen the path, their liberation is incomplete. Hints of remaining trapped in an essentialist femininity created by society are present. Items such as make-up products and floral clothing are included in the space. These act as a reminder that self-empowerment as individuals, empowerment as women, is a growing process.