“The mirror has always been a standard prop in feminist art […] to works informed by Lacan’s influential theory of the “mirror stage”, which lends itself to emblems of female independence from the way women are seen by society, while also touching on conflicts between presence and absence” from Lippard, Lucy R. (1995) The Pink Glass Swan – selected feminist essays on Art. The New Press. New York. pp 23. The viewer is put at the centre of the artwork, the viewer then becomes both the viewer of the piece, and also the subject. “The real function of the mirror was otherwise. It was to make the woman connive in treating herself as, first and foremost, a sight” from Berger, John. (1972) Ways of Seeing. Harmondsworth. Penguin. Pp51.
In the above image ‘Glass’ 2017, I have used photo-transfer decal paper to print out the image and place on a piece of glass. I have used two images here, after re-appropriating them on Autodesk Sketchbook Pro, to identify the pixelation, justifying the inequality between men and women in the art world. I have used another Paul Sieffert, like the others I’ve scratched at the piece, but the interesting thing about this is the link with feminism. Unintentionally, I scraped away at the female’s back, later realising that Mary Richardson, a suffragette slashed a painting on the females back (Diego Velazquez’s Rokeby Venus) in order for justice and equality for women’s votes in 1914.