Luana van Oranje
From as early as our life drawing sessions in the first term I was interested in the relationship between the subject , the artist and , finally , the viewer . With the former being observed – if not scrutinised – by the latter two , parallels began to appear between art and our modern world . A world filled with surveillance , social media and a constant exposure to the public eye .
Though well-meant , our society of constant observation has become intrusive and dangerous . Not only can it be abused by people in positions of power , but on a more simplistic level it also has significant repercussions for body image and mental health .
Focusing on the relationship between subject and viewer , I paid careful attention to reiterate the ‘ observing ’ perspective by positioning the viewer behind a ‘ lens ’ or ‘ mirror ’, or simply catching the subject off-guard . One consideration was always the subject ’ s eyes – were they confrontational , were they unaware of the viewer ’ s presence ? Or were they absent , reducing a figure to simply its body ? Through my choices , the viewer assumes an position invading the subject ’ s privacy . They intentionally evoke feelings of unease , revealing the human failure to acknowledge our reality as the central focus of modern surveillance .
My work cyclically returned to the human form , often the ultimate focus of outside scrutiny . This is specifically prevalent for women , traditionally objectified by the lens of our patriarchal society . Considering both the human body and facial expressions as equal in exploring fragility as well as empowerment , my pieces acknowledge and embrace our human vulnerability . Only by accepting this can discussion take place looking to our future , privacy and safety .