This current series of work appropriates and reimagines historical feminine portraiture within art history. The painting genre as a whole is bound to it’s provenance. We apply worth and context to an image based on authorship, originality and ownership. This idea of originality and authorship is not a new concept, it is the basis for most appropriation artworks. We see this in the work of artist’s such as Marcel Duchamp, Barbara Kruger, Sherrie Levine, and Richard Prince. In this current contemporary digital age of appropriation, this concept is at the core of copyright laws and the artists who challenge them. Through digital manipulation, the images fall into fair use; according to copyright law, they have been “transformed”.
The images presented for this series attempt to break their attachments to provenance and represent themselves anew. The images are constructed from scanned segments of female portraits and allegorical painting from art history. They are layered and manipulated, only traces of the original scan can be seen. Female portraiture has been appropriated to show the archetypes used to define women: the visionary, the scribe, the mother, the femme fatale, and the maiden to name a few. The final prints represent the variety of archetypes of women and subverts the context of the original portrait. The sitter of the portrait is no longer tied to their authorship, originality or ownership. They have been reimagined and transformed.