Rachael Winter
Bachelor of Visual Arts
Painting
Don’t believe the hype, 2017
(part 3 of triptych) watercolour & water soluble graphite on paper
1300 x 1170 mm
My body of work has a Political/Social Agenda. I explore themes of power, control, and sexuality, and the extensive ways in which imbalances in these areas have impacted my interpersonal relationships (as well as relationship with self). This imagery reflects ongoing work to dissect, understand, and heal these. I am talking about traditional relationship roles, and extending from my personal history—the effects of decline into domestic/family violence (including physical, emotional, psychological, financial).
I identify strongly with feminist ideology, and use Nan Goldin as a model for this. Goldin created a number of self-portraits, which she explained were made as a safeguard from forgetting the damage caused by her boyfriend’s violence. Goldin was quoted saying her confronting self-portraits were an ‘irrevocable exorcism’, further explaining ‘I did those to fit back into my own skin, to reacquaint myself with myself. The camera is a mirror, the pictures are a diary through which I change.’
Rachael Winter
Bachelor of Visual Arts
Painting
Don’t believe the hype, 2017
(part 3 of triptych) watercolour & water soluble graphite on paper
1300 x 1170 mm
My body of work has a Political/Social Agenda. I explore themes of power, control, and sexuality, and the extensive ways in which imbalances in these areas have impacted my interpersonal relationships (as well as relationship with self). This imagery reflects ongoing work to dissect, understand, and heal these. I am talking about traditional relationship roles, and extending from my personal history—the effects of decline into domestic/family violence (including physical, emotional, psychological, financial).
I identify strongly with feminist ideology, and use Nan Goldin as a model for this. Goldin created a number of self-portraits, which she explained were made as a safeguard from forgetting the damage caused by her boyfriend’s violence. Goldin was quoted saying her confronting self-portraits were an ‘irrevocable exorcism’, further explaining ‘I did those to fit back into my own skin, to reacquaint myself with myself. The camera is a mirror, the pictures are a diary through which I change.’