Freya Bennett
Within my research I am exploring the current significance of Vanitas paintings in postmodern practice. Vanitas are historical still life paintings about mortality, which first originated in Holland during the 1600s. Even though “memento mori” (remember you must die) has fallen from consciousness compared to its historical relevance, the main focus points of the vanitas are still relevant today. Making the viewer reflect on their own relationship with mortality, consumption and religion.
The macabre has been a topic of fascination by artists and specialist practitioners for centuries. This research applies the ideas of Jean Francois Lyotard and Katherine Hauser to both historical and contemporary creative works of Evert Collier, Audrey Flack and Youngmin Kang. I am using this research to support my painting practice, which takes inspiration from artists like Harmen Steenwijck and Andy Warhol.
Findings of my research so far are pointing to an interesting debate around feminine vs feminist within contemporary vanitas works, positing the question of whether it is the objects chosen or simply the gender of the artist that determines the significance of the work. This is strongly related to the prominent issue of feminism in today’s society. I am finding this interesting as the more research I do the more in depth the Vanitas paintings go, there is a lot more than meets the eye, which I intend to explore.