In a
practical investigation carried out by practising illustrator Megan Naylor –
Wardle, she attempts to investigated the wider picture and how women are
objectified, but with the overarching aim of celebrating women’s bodies and
being a woman, eliminating the objectification.
Throughout the investigation she also tries to establish what feminism
is, by employing the feminist theories to her approach and process such as ‘The
Male Gaze’ (Mulvey, 1975) and of how women’s bodies are viewed in society.
Naylor –Wardle’s aim to try and eliminate the stigma attached to women being
objects of heterosexual male desire by showing women’s bodies as functioning
being and creating imagery that goes against the latter. She begins her
investigation by considering the parts of a women’s body that are sexualised
such as breasts. (see figure 1)
From this
she starts to study more into the anatomy of the female body. This is a part of
a women that is rarely represented, but it is what allows women to do extraordinary
things such as to grow and give birth to new life. It is also a key part of
what makes a woman.
Throughout
this investigation Naylor-Wardle also tries to establish an opinion into what
it means to be a feminist. Dismissing the image of ‘The Default Man’ (Perry,TheDesentOfMan,p14,2016 ) that women sometimes adopt to be taken seriously, and
replace. As such, the process she uses to create her images, fabrics and
embroidery can be interpreted as traditionally female, however it’s about
taking ownership over them and re appropriating them to fit into a different
context of celebrating the female form. With this employing some the practical
theorises such as Shannon Downey (Downey, S. (2017). She also uses print and pattern to
break down the images with the intention of making them slightly obscure and
driving the viewer to decipher what is depicted. The reasoning behind doing
this is so the patterns could potentially be used in a more commercial context,
hence spreading the wider message. Print and repetition is an effective way of
mass producing imagery, whist also being ascetically pleasing on the eye and is
very versatile. Although Naylor – Wardle’s investigation is highly
experimental, the shapes are sometimes too abstract to read what they are. The
larger whole image pieces seem to translate more strongly as there is a less
confining space, and there is a more information. (see figures 2 and 3.)
There could
have been more thought to colour as well. Using again a traditional female colour,
pink, mixed with others again makes for a successful aesthetic but there needs
more context behind it. Considering more colour theorist and studying the
connotations behind different colours could have added another level to the
concept. At the end of her project, Naylor –Wardle states the opinion that
feminism is a theory that is all inclusive. That just because society labels
certain activities and actions, as feminine, it is by no means the definitive
view and just because you may partake in these and you are still a feminist. It
is about having the freedom to do want and be who you are without the
attachment of gender stigmas.
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