Patti Brady’s work is unabashedly feminist and unapologetically embraces and celebrates “girly work.” Repressed Beauty is an exploration of quashed artistry and the forgotten aesthetic. The modern tendency to overlook or rush past the aesthetically pleasing, trading attention to design and detail for consumerism, is a form of undervaluing beauty. The pervasiveness of this trend and the rippling cultural effects of this mentality on the individual - politically, artistically, physiologically and spiritually - are both universal and on a global scale. In particular, today’s female is specifically affected due to her inherent relationship with beauty.
The current work presents a collection of multiple leveled/layered works adorned with ornately decorative patterns, which refference the question of what it means to be feminine today. Each piece is constructed from transparent and mirrored Plexiglass and adorned with acrylic paints, beads, baubles, studs, chandelier crystals and patterns.
There is an obvious feminine sensibility throughout the work. The term “femmage,” coined by Marion Schapiro and meaning a combination of feminine and collage, is an appropriate descriptor. The transparent layers and reflective quality of the Plexi is central to the conceptual basis of the work, as well as it’s materiality. The commercial, ticky-tacky quality of the Plexiglass is an intentional contrast to the warm, home-spun materials used in women’s traditional handiwork.
In this contemporary era of plastic fakery and pretentious deniers of visual pleasure, this untraditional, emboldened body of work is an authentic commentary on beauty. Based upon perception, that which is beautiful is intrinsically contemplative, individual and real. It’s appearance affects all, in one way or another. And, just as the mirror renders our own advantages and deficiencies visible to us, Repressed Beauty reflects a fresh and alluring seat at the vanity.
“Beauty is truth's smile when she beholds her own face in a perfect mirror”. Rabindranath Tagore
My imagery is most currently inspired by patterns found in fabric and wallpaper, Damask, ornamentation and polka dots derived from botanical forms. The shapes have morphed from square to oval to biomorphic and Rorschach and are designed with paper and scissors or an iPad.
There is an obvious feminine sensibility in all the work. I like the term “femmage” coined by Marion Schapiro, meaning a combination of feminine and collage. My work always has the intent of being decorative and beautifully ornate while invoking questions of what the pattern and patterning elicit in reference to what it means to be feminine.
My physical vocabulary is acrylic paint, acrylic mediums and color. Currently, I am exploring layers of transparent plexiglas and mirrors. The titles refer to historically famous prostitutes and to contemporary taggers.
My imagery is most currently inspired by patterns found in fabric and wallpaper, Damask, ornamentation and polka dots derived from botanical forms. The shapes have morphed from square to oval to biomorphic and Rorschach and are designed with paper and scissors or an iPad.
There is an obvious feminine sensibility in all the work. I like the term “femmage” coined by Marion Schapiro, meaning a combination of feminine and collage. My work always has the intent of being decorative and beautifully ornate while invoking questions of what the pattern and patterning elicit in reference to what it means to be feminine.
33" x 33"
33" x 33"
My imagery is most currently inspired by patterns found in fabric and wallpaper, Damask, ornamentation and polka dots derived from botanical forms. The shapes have morphed from square to oval to biomorphic and Rorschach and are designed with paper and scissors or an iPad.
There is an obvious feminine sensibility in all the work. I like the term “femmage” coined by Marion Schapiro, meaning a combination of feminine and collage. My work always has the intent of being decorative and beautifully ornate while invoking questions of what the pattern and patterning elicit in reference to what it means to be feminine.
My physical vocabulary is acrylic paint, acrylic mediums and color. Currently, I am exploring layers of transparent plexiglas and mirrors. The titles refer to historically famous prostitutes and to contemporary taggers.
