FINAL SELF - MB

 

Monique Boss, "THE START", 2024 (8.5"x11")

For my final self project, I decided to represent myself on the cover of a Vogue magazine as a way of confronting beauty standards. I depicted myself as a butterfly for its symbolism of transformation and freedom (through digital collage). This relates to the person I believe I am becoming. I used a full body photo of myself showing a bit of skin which represents me starting to feel more confident in my body and sexuality. I'm often more covered up for comfort but also to avoid unwanted attention aka the male gaze. 

Furthermore, I chose to use a quote by James Baldwin to go on the "cover" because I feel that the world's current "immense metamorphosis", has caused me to change how I respond to injustice. I've never been the type of artist to use my art "politically" or to respond/bring awareness to socio political issues. I merely only spoke on issues with family and share on my social media. But after being in this class, I've witnessed how many artists successfully navigate these themes through their craft. Many have inspired me to do the same as I am someone who hates the idea of being complicit in the wrongs of our society.

The artist who inspired me the most these past weeks has been, Wangechi Mutu, for her ability to create beautifully captivating images via collage/mixed/multi media with hints of social-cultural issues. 

Quotes: 

Frida Kahlo Was a Painter, a Brand Builder, a Survivor. And So Much More

"Kahlo did not conceal her pain, revealing her casts and leather braces with metal buckles in her work and turning her plaster corsets into art with elaborate designs of flowers, even a hammer and sickle. “She treated these second skins as canvases,” Ms. Small said."

Being Marina Abramović, Even When No One’s Looking

"Many artists get their best ideas from their dreams or in a state of complete tranquillity. I hate the studio. It’s a trap to me. Ideas come from life."

Interview with Shaun Leonardo - Performance, Pedagogy, and Philosophy

"I don’t understand how I never felt that the historical art canon could not be achieved simply because of my ethnicity or color. That was never a blockage for me, psychologically.

... I offer that narrative with the recognition that, over my life and professional career, I have witnessed young people be easily derailed when they don’t see themselves in the representation of who is creating."