In Release the Hounds I am critically interested in subverting the way femininity, identity and beauty is represented and perceived, through portraiture. This series explores this topic through a range of intimate portraits of diverse women. In this
       
     
  Martha
       
     
  Opel
       
     
  Clare
       
     
  Annabel
       
     
  Audrey
       
     
  Catherine
       
     
  Clementine
       
     
  Rowan
       
     
  Gwen
       
     
  Harper
       
     
  Hazel
       
     
  Akira
       
     
  Ngaire
       
     
  Olivia
       
     
 In Release the Hounds I am critically interested in subverting the way femininity, identity and beauty is represented and perceived, through portraiture. This series explores this topic through a range of intimate portraits of diverse women. In this
       
     

In Release the Hounds I am critically interested in subverting the way femininity, identity and beauty is represented and perceived, through portraiture. This series explores this topic through a range of intimate portraits of diverse women. In this work I employ digital techniques, ordinarily used to beautify and perfect, to subtly accentuate facial “imperfections”.

The artistic, social and political goal is to upset the balance viewers have come to expect from this genre. Often employed to tighten and hush flaws (particularly in media images of women), retouching occurs in Release the Hounds as the quiet enhancement of a feature that each model identified as challenging her self-esteem.

Coming from a retouching background, I am critically intrigued by how this manipulation alters perceptions of reality and feminine ideals. The figures are animal and creaturely, a pack of ‘hounds’ made powerful by their own self-loathing. Each figure becomes avariant of herself; not rendered weak by the exposure of her insecurity, but engaged in a strange yet graceful defiance, most pointedly as a multitude of individuals. Yet the internal roots of the women’s physical insecurities remain undisclosed, engaging the audience to survey the images in great depth.

The images were shot close-up in fading light and each figure exists in static tension with the space they occupy. This posturing tends towards a subliminal discomfort, theatrically displayed – not through the models themselves, but through post-shoot digital manipulation. As the series’ title suggests, the physical is emphasised.

Preconceived expectations of beauty are sent slightly off-kilter. The series functions as a gentle and uneasy deconstruction of perceived beauty ideals in our culture regarding how women should look and be represented in the media and in art. The work also playfully reconstructs the mythical power inherent in the ‘flaws’ of the represented figures, creating an eerie second-self.

  Martha
       
     

Martha

  Opel
       
     

Opel

  Clare
       
     

Clare

  Annabel
       
     

Annabel

  Audrey
       
     

Audrey

  Catherine
       
     

Catherine

  Clementine
       
     

Clementine

  Rowan
       
     

Rowan

  Gwen
       
     

Gwen

  Harper
       
     

Harper

  Hazel
       
     

Hazel

  Akira
       
     

Akira

  Ngaire
       
     

Ngaire

  Olivia
       
     

Olivia