These works (and partly also works under the frame of The Muse) revolve around the American pop star Rihanna. I find her interesting because she practices a very different, almost anachronistic type of feminism. Initially, I was interested in flirting with “the contemporary image” - the superficial pleasingly correct image. I started out disapproving of both Rihanna and modern painting, but as the ironic flirt turned into real emotions, I had to admit that I was truly interested in both subjects. I was won over by “the contemporary image” - my rationale was converted into unsophisticated, unproblematic passion. Should I not have given in? For years I have exploited the tools of painting, in order to deal with dense cognitive content. Where (and why) is painting today? In order to respectively pay my dues to the medium, I involved myself in “the contemporary”. It was sweet to give in; to be exploited and to be charmed by color and form.
In short, the patterns and compositions of these paintings are conversions of Rihanna's wardrobe - a portrait of a commercialized, contemporary person - based on paparazzi pictures. The content then lies in that deceptive logic of sweetish consumption - the charming (or manipulating, if you like). Only after this consumption, can you conclude what type of sensitivity is appropriate for you in that moment; delight (you have carelessly enjoyed the flirt) or disgust (you feel plundered by the flirt). And no matter what line you stand in, the painting is still a charming painting. Do I accept the cult of the contemporary? I do not know. I am still bewitched. But in this final analysis I think my answer is: Yes I do. And I enjoy it.
More apparent in my works about Beyoncé and Nicki Minaj, but still hidden somewhere in this body of work is the white gaze. Decolonisation was an ongoing motivation in my studio for about 10 years. Eventually however, my motivation manifested as a fear of stepping over boundaries of the driving force of the women that I portrayed and admired. And in the end, if people of colour are offended, then my initial admirable intention doesn’t matter.
In her work, Rihanna talks about the issues of her Black body being consumed by a White male gaze. My gaze. I found it necessary to take this gaze and whiteness seriously. I needed to unpack my own privilege and understand what Rihanna was projecting at this Whiteness. She had a target. I was trying to embody that target. To consume her points. I was not appropriating. I was consuming - and consuming for me always goes through my art practice. Read more here.
CHART, Kunsthal Charlottenborg, Cph, DK with ELASTIC Gallery (SE).
The Graphic Jacket Painting
180 x 200 cm, mixed media on canvas, 2013
The Givenchy Diptych 1 of 2
160 x 160, mixed media on canvas, 2013
The Striped Painting
180 x 180 cm, mixed media on canvas, 2013
The Boy and Stripe Painting
24 x 32 cm, oil on canvas, 2013
The Marc Jacobs Painting
170 x 190 cm, vinyl paint on canvas, 2013
The Pattern in Shadow Painting
27 x 35 cm, oil on canvas, 2013
The Annie Leibovitz photoshoot, 2012
Oil on canvas, 22 x 36 cm
The Vita Coco Pineapple Painting
50 x 50 cm, oil on canvas, 2013
The Tribal Bikini Painting
200 x 200, mixed media on canvas, 2013
The Pineapple Painting
170 x 170 cm, oil on canvas, 2013
The Purple and Red Detail Painting
41 x 33 cm, oil on canvas, 2012
The Ass Grab Painting
27 x 21,5 cm, oil on canvas, 2013
Paddle Painting 2, 2016
Oil on canvas, 22 x 36 cm
The Zebra Zoom Painting
120 x 100 cm, oil on canvas, 2013
The Zebra Pout Painting
19 x 23,5 cm, oil on canvas, 2012
Bending in Colour, 2017
Oil on canvas, 50 x 60 cm
Purple Riri Weave, 2016
Oil on 2 canvases woven together, 42 cm x 32 cm
The Vintage Versace Painting
31 x 23,5 cm, oil on canvas, 2012
Riri Bending by the Pool for You, 2017
Oil on canvas, 40 x 40 cm
The Grey Wang Painting
140 x 120 cm, mixed media on canvas, 2013
The McQueen Side Glance Painting
30 x 40 cm, oil on canvas, 2013
The Perfect Red, Grey, Khaki Painting
21,5 x 27 cm, oil on canvas, 2013
The Perfect Painting
50 x 60 cm, vinyl paint and wax on canvas, 2013
The White Painting
50 x 55 cm, oil on canvas, 2013
The Givenchy Diptych 2 of 2
140 x 160, mixed media on canvas, 2013
The McCartney Sequin Painting
27 x 33 cm, oil on canvas, 2013
The Sexy Bikini Dance Painting
24 x 43 cm, oil on canvas, 2013
The Sexy Painting
180 x 200 cm, mixed media on canvas, 2013
I am 1, 2017
Copperplate etching, 22, 8 x 17,8 cm (edition of 1)
Facing the Muse, 2017
Oil on canvas, 33 x 24 cm
The Veil of The Muse, 2017
A 40 x 40 cm 100% polyester scarf depicting a painting (light weight plain weave)
The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Installation view at Lunds Konsthall, 2016
The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Installation view at Lunds Konsthall, 2016
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Detail; The Rihanna Rapports, 2013
Mixed media, 28 boxes in red mdf, on shelf, each containing multiple paper files
Installation view at ELASTIC Gallery, Malmö, SE, 2013
