Aislinn Feldberg (b. 2001) lives and works in Queens, New York. Her work focuses on the deconstruction of the human body and the peaceful acceptance of living within one’s own skin through closeup depictions of non recognizable areas, and subtle references to reproductive rights. She uses organic materials, such as henna, soil and makeup to explore the relationship between concepts of the grotesque and the woman’s body. She evaluates how stereotypical beliefs of how women are expected to behave and dress are expressed in dialogue, and how being a Chinese and European American can be empowering. Recent exhibitions include the Greenpoint Gallery and A Space Gallery.
Artist Statement
​“What is Woman?” This is a question pondered by male, white philosophers and radical feminists, but ultimately serves no purpose, as gender norms, masculinity and femininity are always changing and overlapping, according to feminist Simone Beauvoir. As gender is transforming into a nonstructural, nonconforming dynamic, women’s rights and agency over their bodies grant them power. I seek to document this power by portraying these women as nameless, spilling masses.Those who possess a clearer form, however, do not have conventionally beautiful features; I place emphasis on a strong presence, hence the inclusion of iconographic images of feminism: the witch, the onryoÌ„, the maenad, intertwined with references to changes in laws or unjust laws regarding reproductive rights or how a woman is treated.
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Being a “nameless, spilling mass” equates with the deconstruction of the human body into depictions of non recognizable areas, obscuring what may be considered beautiful and imperfect (fat, scars, blemishes) and offering realization that those features are what one has to live with and love. These depictions, or photos invite peaceful acceptance of living within one’s own skin. A captured drop of water on my body or the lighting can serve as windows into an intimate space.
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These scenes are not painted to resemble a “true to life” reality, as the woman’s body is scrutinized in the public and private spheres of society, and is expected to behave and dress according to gender roles. To combat these restrictions and erase the automatic desire to categorize, I remove any presence of sex organs. My hope is that I broaden opinions of disrupting stereotypes and provide a space for women’s bodies to exist for their own pleasure and self-realization. I encourage the viewer to reflect on or reevaluate what womanhood means to them, as well as their relationships with their bodies.