dbyj SELFIE-PORTRAIT series
from the 「dbyj」 selfie portrait series:
with the rise of the selfie obsession, this project is a cultural -sociological commentary (using participatory culture digital tools) on the current ‘addiction’ to selfies and the eternal burden on women to be (fill in the blank). with the influx of digital apps to ‘beautify/commercialize’(filter out true self and replace with “neatly unwrinkled iron-pressed faces” to match constantly-changing and never-placated beauty standards from cross cultures), women may be under more scrutiny than ever. so instead of using ‘fastfoodtech’ to 'beautify' the intent is to take the same tools and transform, sculpt and paint 'the selfie' as a partial reaction (without bitterness, resentment, self-victimization/deprecation and/or retaliation)/partial statement (rise, speak, create) to the hyper-performative and perfected demands of the self and the woman. shifting the conversation and pivoting from the orthodoxies, the tools are used to distort, exaggerate (eyes amplified not to entice/seduce/woo but to reveal a pain, sorrow, trial, strength, her truth) and mold; using the malleability to deconstruct the societal projections and historical constructs. naturally, with the hyperbolic leanings of the face/selfie, a hint of light humour is inevitably threaded throughout the series. the fluffiness and comedic expressions juxtaposed with the actual heavier and serious issues highlight the harsh contrast and pressing need for reconciliation within self (micro) and society (macro). particularly it hopes to excavate the deeply embedded biases women living in this modern age face: straddling analog, digital, men, children, women, career, purpose, and a wild array of converging mediums, divergent ethics and outstanding (mis)appropriation.
The artist uses her own face as the initial canvas, to personalize and experiment (and to direct any hyper-critique/judgement back on herself). Women and their dynamic (volatile/natural/strained/confounded) relationship with motherhood is a result of Le Grand Bébé. But it also hopes to flip the narrative, where the artist in somewhat clandestine (or not) manner, confesses her inner “big baby” that is present in all situations and selves, but stifled or often simply (de)prioritized.
with the rise of the selfie obsession, this project is a cultural -sociological commentary (using participatory culture digital tools) on the current ‘addiction’ to selfies and the eternal burden on women to be (fill in the blank). with the influx of digital apps to ‘beautify/commercialize’(filter out true self and replace with “neatly unwrinkled iron-pressed faces” to match constantly-changing and never-placated beauty standards from cross cultures), women may be under more scrutiny than ever. so instead of using ‘fastfoodtech’ to 'beautify' the intent is to take the same tools and transform, sculpt and paint 'the selfie' as a partial reaction (without bitterness, resentment, self-victimization/deprecation and/or retaliation)/partial statement (rise, speak, create) to the hyper-performative and perfected demands of the self and the woman. shifting the conversation and pivoting from the orthodoxies, the tools are used to distort, exaggerate (eyes amplified not to entice/seduce/woo but to reveal a pain, sorrow, trial, strength, her truth) and mold; using the malleability to deconstruct the societal projections and historical constructs. naturally, with the hyperbolic leanings of the face/selfie, a hint of light humour is inevitably threaded throughout the series. the fluffiness and comedic expressions juxtaposed with the actual heavier and serious issues highlight the harsh contrast and pressing need for reconciliation within self (micro) and society (macro). particularly it hopes to excavate the deeply embedded biases women living in this modern age face: straddling analog, digital, men, children, women, career, purpose, and a wild array of converging mediums, divergent ethics and outstanding (mis)appropriation.
The artist uses her own face as the initial canvas, to personalize and experiment (and to direct any hyper-critique/judgement back on herself). Women and their dynamic (volatile/natural/strained/confounded) relationship with motherhood is a result of Le Grand Bébé. But it also hopes to flip the narrative, where the artist in somewhat clandestine (or not) manner, confesses her inner “big baby” that is present in all situations and selves, but stifled or often simply (de)prioritized.
the expectations of doing it all with a “smile, poise and sexiness,” still pervade: wearing (only) heels, an apron and a bulletproof vest.
Californians, 2017
UV Ink on Acrylic Glass 16.5 x 20.25 inches
Acrylic on Recycled Paper 18 x 24 inches
Frame 23 x 29 inches
UV Ink on Acrylic Glass 16.5 x 20.25 inches
Acrylic on Recycled Paper 18 x 24 inches
Frame 23 x 29 inches
As a Canadian in California, Californians is her soft protest of unsubscribing to stereotypes/labels; her take on the over(mis)used word is a bit sunbaked and perplexed, but nuanced to reveal yet again, the daily internal struggle. Externally, it appears that we are all rosy, sunny, and tanned, but behind the filter/frames, real diligence and raw grit is exposed. (This piece is also a tiny nod/pop cultural reference to the SNL skit).