The ING Discerning Eye Exhibition returns to Mall Galleries, London, this month. The exhibition champions emerging and established artists, presenting a dynamic selection of small works for sale. Each piece is selected independently by leaders in the creative arts 鈥 resulting in six diverse exhibitions within the whole. Aesthetica speaks to artist Rebecca Fontaine-Wolf, whose work is included in this year鈥檚 show.
A: How does it feel to be part of the ING Discerning Eye Exhibition 2019?
RFW: I鈥檓 honoured to have been invited by Sir Tim Rice and to be exhibiting alongside some of his other selected artists, such as Jonathan Yeo, Lisa Wright, Paul Benney, Kristian Evju and Nell Sully whom I greatly admire. The ING Discerning Eye Exhibition is always an exciting show; the format of having six selectors curating their own areas of the gallery makes for an engaging and fun viewing experience. It鈥檚 also always exciting to be showing some new works for the first time and seeing how they are received. Especially the three pieces from my Lover鈥檚 Eye series, which are quite different for me, in part because it鈥檚 the first time I鈥檝e worked on this very small scale.
A: What are the main themes in your work, and why did you choose painting as a medium?
RFW: My work revolves around female identity and the experience of being a woman. I’m interested in the very personal and often unspoken physical realities connected with the female body, including the changes and cycles we go through and connected societal pressures. Themes around mortality and desire, which are deeply bound up with the symbolism of the female through mythology and religion, also feature quite heavily.
I鈥檓 drawn to painterly draughtsmanship. To me there鈥檚 something almost magical about creating a lifelike image just out of pigment on a surface; but I鈥檓 equally interested in the materiality of the medium itself.聽 You can create so many different textures and effects with paint alone, and there is always an element of chance that comes with painting. As much as I plan something out in advance, I can never fully anticipate what the paint will do, and where it will lead me. This gives the whole process of creating an element of being alive, which mirrors the subject matter I鈥檓 working with. There鈥檚 a cyclical tension between control and chaos in the act of painting. Images and brushstrokes are brought into existence only to be destroyed, becoming absorbed into the next form or layer and turned into something new yet again. Although I predominantly paint, I also really enjoy working with digital mediums. In the end I need to feel physically connected to the work, so that it鈥檚 almost something that has come from my own body.
A: Your pieces explore ideas of the female gaze. Why is it important to address this in 2019?
RFW: Over the last few years the art world seems to have accepted that female artists are underrepresented. Thankfully many galleries and museums are trying to redress this balance. The female gaze is important because it shows the world from a different perspective. Seeing the world represented through the eyes of women 鈥 and the 鈥榦ther鈥 in general 鈥 will begin to rebalance the cultural landscape around us which shapes so many of our attitudes and societal norms.聽I don鈥檛 believe that there is any one kind of definition of what the contemporary female gaze is, as there are so many ways of experiencing womanhood.
A: How does your work combine historical influences 鈥 including mythology and Vanitas painting 鈥 with experiences of today鈥檚 world?RFW: The main way I combine these influences is by exploring how they still affect us today. All myths and folklore become part of our cultural make up, and the Greek Myths have such a lasting legacy. Many of the ideas and archetypes described in them still inform our opinions without us necessarily being aware of it.
My last solo show, for example, was inspired by the myth of the Medusa and her connection with menstruation and the female gaze. It explored how this story represents woman as a dual image: beautiful and pure on the one hand and 鈥渕onstrous鈥 on the other. This image 鈥 along with the taboos around women鈥檚 bodily functions 鈥 stem from these stories.
A: You often work with subjects whom you know. What does this sense of connection add to the artwork?
RFW: It plays a vital part for me. Even though I have specific themes for each body of work, I still want to create images of women that are based in reality. I want to incorporate some of my sitter鈥檚 personal essence and experiences through the prism of the ideas I鈥檓 exploring. It鈥檚 through doing this that I believe you can create representations of women which other women can truly connect with.聽My main aim is always to create images that are both personal and universal at once.
I want to use my gaze to celebrate my sitters, and to reflect back to them what I see; allowing them to view themselves through another woman鈥檚 eyes. In return, the responses I get back from them about the paintings often reveal facets I had been unaware of myself. In this way the painting becomes a process of making visible otherwise invisible aspects of ourselves, to ourselves through each other.
A: Can you tell us about the works you will be showing in the ING Discerning Eye Exhibition?
RFW: The pieces from the Lover鈥檚 Eye series are inspired by 18th and 19th聽Century miniature ‘lover’s eye’ jewellery 鈥 as well as my ongoing interest in the symbolism of the female gaze and its perceived dangers.聽I was really drawn to the idea of being able to capture and cherish your lover鈥檚 forbidden gaze, and making it even more precious by turning it into an actual jewel. The eye was used as a symbol for the vulva, menstruation and fertility in ancient times, so there is a very strong link between the forbidden nature of the female gaze and women鈥檚 sexuality. I鈥檝e played with this in these pieces. Alongside these I鈥檒l be showing some paintings which continue to explore the physical experience and sensations of the body.
A: Why do you think initiatives such as ING Discerning Eye are important for contemporary artists?
RFW: Having open exhibitions like this is a vital opportunity for contemporary artists, especially ones who aren鈥檛 as established to break through into the often-elusive art world.聽It鈥檚 an opportunity to have your work seen by prominent figures in the arts, to exhibit alongside seasoned artists and possibly have your work become part of the ING collection.聽 Apart from this it鈥檚 also a great opportunity to have the work seen by the large number of visitors that come to see the exhibition every year.
The ING Discerning Eye Exhibition runs 14 鈥 24 November at Mall Galleries, London, and all artworks are for sale. Find out more
Lead image: Rebecca Fontaine-Wolf, While It’s in Your Grasp.
1. Rebecca Fontaine-Wolf, Enfold.
2. Rebecca Fontaine-Wolf, Between Worlds.
