This performance questions the development of sexualized objects within contemporary society, and whether or not these have really been accepted. It will further delve into some aspects of ‘the male gaze’ and examine early ideas about women and vanity; referencing John Berger’s theories expressed in his series On the Female Nude, Ways of Seeing, 1972. Within the series Berger speaks about how women from early stages have been almost trained to look at how we perceive one another and how we are therefore expected to perceive ourselves.
Berger discusses how glances act as mirrors, as a reminder of how we should represent ourselves, as ‘behind every glance is a judgment’ (Berger, 1972). He begins by discussing how women were taught, and more importantly expected to survey themselves with regards to men, due to this being the main way to achieve a form of success in life. This stems from early European oil paintings, to which the woman is depicted to be looking back at us spectating her, or for the woman to be gazing at herself within the mirror, symbolizing vanity.(Williams, 2014)
Within our contemporary society more and more woman feel the need to spend copious amount of time on their appearance and constructing their identities ascribable to the pressures of society. The performance begins to break down identity through the use of products, examining the relationship between beauty and sex. This is illustrated by using sexualized beauty products in the form of vibrating mascara’s/lipsticks etc within a woman’s daily routine of presenting herself. The performance will take place in front of a vanity mirror; I am planning to use something similar to in the picture below.
Vanity Desk, Own Photography
The video itself will be framed through a keyhole as we peer into the scene of a woman within the realm of the being. This evolved from a conversation that took place at an Ann Summers party; to which the representative explained how many of their products have developed into being hidden in the form of another object so their partners would not get jealous of them using sexual stimulants. The sound (vibrations) from this piece, will surround the installation, and throughout the spoken performance.
Artist As Curator 