Chloe Wise is a young Canadian artist who currently lives in New York. Her practice includes painting, sculpture, video, and installation.
Established as a portraitist, Wise examines the multiple channels that lead to the construction of a Self, paying particular attention to the interweaving of consumption and image making. With a wry sense of humor, she nods to canonical tableaux, like Manet’s Déjeuner Sur L’Herbe, exploring the shared projected desires built around food and the female body.
In an excellent interview with JEROME SANS (Purple Diary Magazine) the artist expresses herself about the Portrait:
“My mom and I used to sit and draw each other’s portrait in crayon on the paper tablecloth at Pizza Hut when I was really little.”
“I don’t think we will ever grow sick of the portrait, as we are constantly face-to-face with other humans in our experience.”
The concept of “objectification” seems to be in the personal agenda of Wise, who uses, among other aspects, food as a parallel concept to painting, to portray the relationship between object and woman.
“JÉRÔME SANS — What’s the link you want to make between women and food?
CHLOE WISE — The female body has been presented in the media, advertising, and fashion as a consumable product, ripe for the picking, so to speak, objectified, and presented on a platter, as though parallel to a fruit or a sundae. This is problematic imagery to me. The female body and food are treated like still lifes, they are synonymous. The still life is a sort of memento mori, a reminder of the fleeting nature of life — that the fruits you see will soon rot, decay, and perish, much like our human bodies, etc. So, my work is drawing that parallel, at once satirizing the way women are sexualized and affirming that same idea of the transience of life.”
We will sure stay tuned for her upcoming exhibition, Not That We Don’t, at Almine Rech, London, England
Images @ www.chloewise.com