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IBDP VISUAL ARTS HL EXHIBITION
Hsin-Yu (Rebecca) Lee - Getting Ready
I grew up watching anime movies from Studio Ghibli, where most male leads are perceived and illustrated as beautiful rather than following the masculine stereotype. From their gentle, and elegant persona, to their obvious soft feminine features, my friends and I have agreed that these characters weren’t considered strange for obtaining these features, but rather attractive. This has made me realise that finding attraction in feminine men wasn't just because of my preference or “type”, but what made it so attractive was the idea of confidence in expressing one’s identity.
The exhibition focuses on the different representations of embracing identity through the lens of femininity. The femine atmosphere of the entire exhibition is formidable, through the vintage dresser/makeup and in the space and the abundance of feminine imagery. The viewer will tour the exhibition in the order as if they’re getting ready for an event. Other than just identity, my body of work also aims to illustrate the negative reaction from one’s ability to express and the paradox of expectations in society. The concept of identity is a ‘general’ aspect, but also personal towards myself, integrating my culture and perspective. The main goal is to create this continuous shift between the unsettling and comforting aspects of expression and identity, to reflect the second-thoughts and regret in human psychology. However the piece ‘Golden Body’ is set in the middle of the exhibition to remind the viewers that expression in identity should be treasured.
The exhibition opens up ‘Make a Face’, which shows a feminine makeup table, and engaging elements that allows users to rearrange facial parts. This reflects the beauty of uniqueness in identity , however is juxtaposed with the creepy atmosphere from the ghostly plaster hands. The hands are suggestive for the viewers to interact with the piece, and to look in the mirror, however the creepy atmosphere foreshadows other ominous pieces to replicate the reality of expression in society. The exhibition then proceeds to the triptych ‘Triad’ , a beautiful yet disturbing portrayal of acceptance of feminine men in fashion. The appreciation of expression also has this painful reality of pressure for individuals to follow trending standards. Following a similar discussion of public media, the exhibition then leads to the diptych ‘Media’s Pet’, another dark focus on how expression and the concept of feminine men is overused as a cliché. Either with fake acceptance due to the herd mentality of society, the idea of expression in identity seems to be taken advantage of and showcased like a trophy.
The herd mentality of modern society also makes us appreciate the cultural elements that first motivated others to take a stance at embracing identity and change. ‘Take a Pic’ focuses on how Peking/Chinese Theatre use similar makeup for both genders, for some male figures, the intention for them to be as beautiful as the female characters, the evident balance of equity. However, modern society seems to be regressing from this equity, which then also seems to erase cultural value. Linking to culture/history, ‘The Modern Potamoi’ presents the irony of what is supposed to be a stereotyped hypermasculine deity in Greek mythology but instead portrayed as a feminine being. Femininity shouldn't have the stereotypical connotation of weakness, as the Potamoi figure has this element of power and mystery.
Linking with the dresser table, the exhibition brings the viewers back to the idea of getting ready after the train of thought. ‘Dress up’ consists of a gender-neutral piece of clothing ( a vest) made from the polaroids of both genders in a feminine tone, a presentation of equity but also the different interpretations of femininity. Then we proceed to ‘Them’, a piece representing the truth behind our identities, the reflection of how every individual keeps the truest versions of themselves secret and hidden away, although it occasionally may slip out.
The exhibition ends with ‘Party for One’, after the process of getting ready physically or emotionally, we are disappointed by the empty party. This piece illustrates the impact of the pandemic during CNY celebrations with the lanterns and oranges made from face masks , however in composition with the exhibition it overall conveys disappointments and unexpected turns in life.
1. The Modern Potamoi
Oil paint on wooden board.
35.5 X 56 cm
Potamoi is defined as a river or lake god, a male nymph that belongs to a body of water. Stereotypically depicted as a hyper-masculine figure, however I portrayed the potamoi as an ethereal and feminine being due to the modern views of how we should appreciate men’s feminine qualities. I was inspired by John William Waterhouse’s pieces, as I also used the Romantic Style to give the sense of empowerment in femininity, but for a male mythology/folklore figure.
2. Take a Pic
Oil and pelaka paint on canvas
76 X 61cm
I have always admired the execution of makeup for Chinese theatre from my culture. The vibrant red eyeshadow with thick liner was always done carefully, and can be considered an art form on its own. This makeup is used to portray the gentleness , beauty and elegance of a male scholar, and is somewhat comparable to the beauty of the female figure. Modern society has almost forgotten and erased the cultural concept of how both genders can wear makeup and be considered beautiful.
3. Them
Oil paint on canvas
70cm ( diameter )
The circular frame creates this spotlight of the calm and relaxed male, while the female figure freezes in shock after being spotted with the naked eye. This reflects the unsuccessful attempts to hide some parts of our personality to those intimate to us, as others will always catch a clear glimpse of our true identity within.
4. Make a Face
Mixed media (ceramics, plaster, felt, paper boxes, silk and lace fabrics, glass jars and lamp)
63 X 125cm
Instead of the daily experience of getting ready in front of the dresser mirror, you are making the identity of another. As the first element of identity is the face, there’s the struggle of accepting our unique features or imperfections, despite the worldwide advocation of acceptance of all colours and shapes. This piece highlights how facial features shouldn’t be discriminated against due to its inability to match gender conformities, the viewers are welcome to rearrange the ceramic facial features.
5. Golden Body
Papermache, paper clay, artificial flowers and gold paint
51 X 76 cm
Gender fluidity, an identifier that is still considered “strange” and “flawed” as it’s for neither man or woman, or even both. Whether you’re man or woman, or none or both, society will crack and destroy your self confidence, but from the broken form, there’s this ability to grow something beautiful which reveals the treasure behind individuality and expression.
6. Triad
Charcoal and pen
26 X 21cm ( each )
Modern fashion magazines, such as Vogue, Allure, and Harper’s Bazaar, have advocated the term ‘expression’ and made the idea of men expressing their femininity into a fashion trend and icon. Despite the advertisement for acceptance, there’s still the pressure, which results in pain, that still exists in the fashion industry.
7. Media’s Pet
Watercolour
33 X 46 cm ( each )
My parents have always reminded me that the media isn't always real. From the over-hyped support that screams inauthenticity, to the purpose of making one’s image look better, the media has always constantly shown or exhibited people like objects, like expensive jewellery ready to be auctioned.
8. Dress Up
Card paper, metal pin
46 X 84cm
A vest is considered a gender neutral piece of clothing, this vest is made out of printed (polaroids) pictures of my models in makeup, having the same feminine energy, but shown in a different way. At first on the vest, the male has this powerful confidence, while the female is delicate and mysterious. For the modelled photos, it’s the other way round, showing how the two genders present femininity or act differently in public versus privately.
9. Party for One
Multimedia ( face masks, LED lights , confetti, paper wall decor )
100X 120 X 200cm
Chinese New Year, this celebration was to be interfered by the pandemic, which is represented by the oranges and lanterns made from face masks. The irony of using odd numbers as a title and number of oranges on an auspicious themed celebration, reflects how CNY during the pandemic seemed unlucky. The abandoned and claustrophobic space creates a simulation of a depressing and abandoned party, where the viewer is alone, however in contrast there’s the satisfaction of isolation and feeling safe.
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