Throughout art history, a tradition exists of the “reclining female nude.” In these images, be they paintings, sculptures or photographs, the portrayed woman is often young and seemingly helpless. Their submissive nature is implied in their reclined posture. These women are passive, and lack the agency or ability to escape the gaze confronting them. This alone would be enough to dominate the individual depicted, but the male gaze does more to monopolize his subject. The female is rarely engaging with her viewer while the viewer always looks directly at his subject. When the viewer is depicted in the image, the perspective is often warped so that he physically dominates his subject. When a third party is present, (i.e. cupid) they are depicted as small or undeveloped so as not to intimidate the male seekers. The "reclined female nude" is stripped of her agency, opinion, and perspective and exists entirely for male pleasure. This tradition has outrun its course and my photographs are an experiment in re-writing this history.


My self portraits purposely confront the camera and synonymously the viewer with a gaze of specific intent. It is my objective to call attention to what it means and how it feels to be looked at - in doing so I am confronting the male gaze. Women in images are most often the objects of fetishized male desire. To counter that notion of viewership, I portray myself as an individual who is hyper-aware of the camera, the implied male viewer, but most importantly, I am self-aware. In this way, my self-portraits exist as an assertion of my dominance and an understanding of myself and my power.


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