From the Venus of Willendorf to Niki de Saint Phalle’s Nanas, depictions of women have existed in many forms. Contrary to these, art history is filled with passive representations of women designed for observation and often for the satisfaction of men. Historically, women have been positioned as “the other”—a mirror, a void, or a projection—a pattern that persists throughout the evolution of art. However there has always been a push for change, Susanna bathed so that Schneemann could walk. Yet despite the efforts of countless feminist artists who challenge these portrayals, art continually reverts to traditional, objectifying forms. This societal indoctrination into gender biases is what interests me the most. Why, when presented with new mediums, do we instinctively return to exploiting women’s bodies?  How did this topic come to represent the “forbidden fruit” or the art world?

By combining art historical references with AI image generation, I want to draw a parallel between the two and highlight the biases inherent in both. I draw from classical depictions with clearly biased characteristics, such as the elongated body of the reclining odalisque. And reinterpret mythological themes that classical sculpture if oftentimes based on. These forms become the foundation for my own work, made with the use of artificial materials to evoke the pornographic qualities of inflatable dolls. By incorporating glitches in artificial intelligence to my paintings and sculptures, I aim to create a creature that is almost devoid of gender or represents a completely new form, one that can serve as an empty canvas, inadvertently promoting inclusivity. This distortion, in its fluidity, challenges the notion of fixed identities and opens space for diverse interpretations, encouraging viewers to reconsider and project their own ideas of gender. I want to construct a space that feels familiar and inviting, yet challenges ideas and perceptions, with the hope that this environment will also encourage me to confront the biases within myself.