Nadia

Of Hibiscuses and Doc Martens

"Debord observed that the spectacle actively alters human interactions and relationships. Images influence our lives and beliefs on a daily basis; advertising manufactures new desires and aspirations. The media interprets (and reduces) the world for us with the use of simple narratives."

"The proliferation of images and desires alienates us, not only from ourselves, but from each other. 

"Ms. Mutu replies that her preference is to let the art do the job of heightening social awareness" 

"Ms. Mutu is satisfied that she’s challenging the Met (and vice versa). And she has more than race in mind. Always aware of the “where art history has positioned the female body,” generally as the passive subject of painting, she notes that “in classical African art, the female body in some instances is the museum — she is where the art is placed.”"

-

My project was primarily inspired by Kehinde Wiley's portrait of President Barack Obama, with some influences from Mickalene Thomas and Frida Kahlo. I was particularly inspired by how Wiley utilized flowers representative of important settings in Obama's life, and wanted to incorporate that in my own portrait. Wiley utilized African blue lilies for Obama's father's home country of Kenya, chrysanthemums for Chicago, where he met Michelle and began his career, and Arabian jasmines for Hawaii, where he spent most of his youth. Similarly, I used hibiscuses and roses in my own portrait, utilizing photos I took in the Dominican Republic, to represent my country of origin. I used acrylic paint on canvas to create the leafy green background with those flowers decorated across it, and printed out those photos to glue them directly onto the canvas, while also attempting to photo transfer a few of the photos onto the canvas. These are also flowers I have tattooed on me, as my first and second tattoos, respectively. Though I may not be the most connected to my Dominican heritage, my use of them in this portrait showcases how I am still connected to my culture in some way, keeping a part of it near me (and on my body). Paintings by Mickalene Thomas and Frida Kahlo influenced my pose in this portrait. In the process of coming up with an idea for this project, my friend suggested I pose like Frida Kahlo in her painting below to give off the impression of self-ownership. In that same vein, I remembered Mickalene Thomas' work and how she was able to empower women in her photography and paintings, highlighting them as the main subject rather than just a pretty object. As a result, I amalgamated the two poses to demonstrate myself in more of a position of power, relaxed in a chair while gazing down at the viewer, channeling Bell Hooks to "defiantly [declare]: 'Not only will I stare. I want my look to change reality'" (116). This pose also works to focus on the outfit I am wearing, particularly my boots, one of which being far into the foreground. These Doc Martens are traditionally associated with alternative culture, as a result of their anti-fashion advertising that leans into punk culture. As advertising is "a form of communication that reaches millions of people and promulgates shared values," Doc Martens appeals to a certain demographic of people that I tend to associate and identify myself with (Finkelstein 148). My choice in fashion demonstrates who I am, as "when we encounter one another in the anonymous sphere of the public domain, our clothes become garrulous and disclose desires and the secrets of the heart" (Finkelstein 196). 

 My portrait was inspired by the following paintings: