ARTIST STATEMENT
Through my work, I seek to challenge the silence that enables patriarchy to persist and to inspire meaningful social change. My portraits of women celebrate diverse cultures, highlighting their shared experiences under patriarchal systems. Initially, I focused on anonymous women, but as my work evolved—particularly after the tragic case of Rebecca Cheptege, who was set alight by her life partner during Women’s Month (August)—I felt compelled to broaden my scope to include both her story and those of other notable women.
Patriarchy operates in subtle yet pervasive ways, especially in the workplace, where issues such as the gender pay gap and male intimidation persist. Women are often expected to remain nurturing, silent, and compliant—even in professional environments. These deeply ingrained expectations, rooted in patriarchal norms, are recurring themes in my art.
Inspired by Penny Siopis, I employ an innovative technique of layering tissue paper with wood glue to create a textured, durable surface. This method symbolizes the many roles women are expected to fulfill and the unwritten rules of patriarchy. The trauma inflicted by patriarchal systems often becomes embedded in women’s bodies at a cellular level, reflecting generational struggles passed down through mothers and grandmothers (Chopra 2015; van der Kolk 2014).
My medium includes charcoal, oil pastels, oil paint, acrylic paint, and spray paint, combined with printed tissue paper. I incorporate sewing pattern lines, arrows, words, and symbols into my portraits to suggest facial contours and shapes. Over time, I discovered how intuitively placing tissue paper allowed my images to evolve organically. What began as a tool for outlining hair transformed into a painting process where layered tissue paper creates tonal values, adding depth and texture to each piece.
vIn Boardroom Angel, unprinted tissue paper from sewing patterns is layered over printed lines, words, and instructions in the initial stages of the portrait. These layers obscure underlying details, symbolizing the invisible structures of patriarchy. The partially covered faces reflect the limited representation of women in corporate spaces, where their voices are often muted or diminished. This layering technique also addresses how women, constrained by patriarchal systems, sometimes silence themselves to gain acceptance or protect the men around them.
In Silent Strides Against Shadows of Patriarchy, I reimagined the outline of hair using lines cut from sewing patterns, creating a flat, graphic style. This subverts unattainable beauty standards that reduce women to “trophies” in patriarchal society. Similarly, in A ‘Good’ Woman Is a Silent One, I obscured the background with translucent Ivory Black oil paint. After it dried, I used sandpaper to scrape away parts of the paint, exposing the textured surface beneath. This abrasive process represents the historical erasure of women and their contributions.
In Burning Heart, I used a single tissue layer to produce subtle tones and textures. For this piece, I experimented with altering the hue of the tissue paper using charcoal and smoke. I dampened the tissue paper and scorched its edges over an open flame, integrating these burned elements into the portrait. This act directly reflects the violence endured by Rebecca Cheptege, whose tragic story inspired the work.
The square and rectangular formats I use are deliberate choices, symbolizing the rigid structures of corporate and patriarchal systems. To me, the square embodies male tendencies—rigid, confined, and unyielding—while curves might suggest feminine sensibilities. The square’s rigidity mirrors the inflexibility of a society steeped in patriarchal values, perpetuating structures that often oppress and constrain women.
