YOU TURNED ME (OFF) - A piece of female protest to push back men.
Acrylic and oil paint on photo print on dibond. Width 180 cm x height 120.
YOU TURNED ME (OFF) is a follow up to the work YOU TURN ME (ON).
The pair of large turnable photos of woman’s legs expressing female objectification, sensuality, (im)perfection and the playfulness of sex.
YOU TURNED ME (OFF) oozes a different mind set: setting boundaries and refusing to play the role of a free, playful, desirable woman any longer. The work expresses an accumulated aversion coming to a climax, erasing all previous expectations.
No more playing-the-perfect-sensual-seductive-throphy.
The black paint is intentionally viscous and raw in structure as an additional contrast to the light-hearted and playful photographs of the sensual female legs in the background.
Notice the dripper - made of black melted plastic - at the bottom which has been intentionally applied to break the symmetrical and neat frame of the work, making the ugly thick black dirt seeping down, and piercing the perfect framework. This minor detail forms the start of oil slick spreading it surroundings as if it could taint the space around the work as an impending contamination
The goo is thrown forcefully against the photos to symbolically deal with disappointments and pain. The tossing was symbolic for pushing back men who have crossed physical and emotional boundaries.
The work YOU TURNED ME (OFF) shows the complex network of feelings of attractive women in today’s society.
On the one hand there is the pleasure, on the other hand there are the prejudices, the traditional role play and having to deal with men’s cross-border behaviour and sexual harassment.
The work sets new bounders as if society needs an update to reset how it interpret a woman’s appearance.
The title YOU TURNED ME (OFF) covers multiple meanings. The women's legs have been literally been turned in all directions, but at one point the disappointment and emotional brokenness got to a climax.
As final result, the photo images as well as the female objectification are blacked out and turned off by the dark paint.
