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Brushes with Beauty

I have always been in love with the human form. I have always almost subversively advocated nudity as an expression of freedom.

In oppressive societies clothing regulations and restrictions on especially what body parts women must cover up, almost predictively precede censorship on the freedom of expression and published viewpoints. As such, in line with great artists such as Delacroix in his epochal painting Liberty Leading the People, I have always been a vocal advocate of women’s right to public nudity and the decommercialization of the female form. Don’t think that just because some body parts that are associated with eroticism are covered up in advertisements or any other media women aren’t being exploited for particular agendas.

Nudity has nothing to do with objectification. Au contraire, portraying women veiled or in textile up to their wrists in many circumstances represents the subjugation of females of all ages to patriarchy unwilling to discuss their perspective or ambition.

 

Under exactly these premises during the Renaissance as society began shaking off the shackles of ethics inspired by strict piety, depictions of Ishtar, The Birth of Venus, Lady Godiva, The Nude Maja, and The Large Bathers, all become symbols of resistance to systems that relegate women from subjects that inspire them to objects of abuse. By appreciating the expressive, natural right of women to enjoy the impact their very form has on possible scores of admirers, we protect a core value of respect and adoration for the XX chromosome that is as old as life on the planet.

Celebrating femininity by virtue becomes the opposite stance to that of disenfranchising anyone who identifies as female. Many of my wine labels feature artworks of the naked female form. Selma Albasini always stated coyly that she drew and painted women because they’re just so much more gorgeous than men!

 

In the following six weeks I will share more 'Brushes with Beauty'  recorded over the past twelve years. And maybe even a picture of me …

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