Life in a mask
Life in a Mask is a series of works depicting female forms adorned by a gas mask. The mask represents the older values that we look back on as being elegant and honourable from times when interaction between people may have been more restricted, but equally intimate with a select few.
Today, desperation to be recognised, popular, accepted, “followed or following” erodes individualism, pigeonholing us all. Those without their recognised place suffer the wrath of society’s judgment, causing anxiety, fear and increased pressure to conform for fear of insulation or isolation.
Behind the mask one was able to have a level of privacy or intimacy without exposing oneself excessively, maintain a level of dignity and comfort. The masks are not only a screen to preserve dignity, but also a safety device. Protection from pollution, toxins, nuclear particles, even the harmful effects of the modern sun: all of them judgmental in their own way, leaving us to reap the consequences of our actions.
The mania of invasive surgery, the endless list of creams and potions promising eternal rejuvenation, masquerading behind the famous Photoshop touch ups; millions vying for the crown of collecting more and more “friends” on social networks. The need to feel constantly in touch, as if afraid to be alone or isolated; obsessive self-promotion: what has brought on this tidal wave of insecurity?
Artists Statement
If you think your art speaks for itself, think again.
Toxic Life
The Toxic Life collection offers a snapshot of life from a woman’s perspective over of the centuries.
The latest works in the Toxic series thematically extend the message of humanity’s need to stand up against the evils of today’s corrupt and indifferent society. My colour palette has brightened and evolved from my previous dark period. The blue, red and yellow flashes are uplifting and vibrant, although the subject matter has stern undertones. As with Toxic Art, military emblems adorn all the subjects, having lost their path and buying into materialism and superficiality, the symbol of capitalism gone wrong. The vibrancy of the colours is representative of the energy and potential, which is diverted into opulence and prostitution of the inner-self. The soul is up for grabs at the mere price of outer beauty and obscured by modern accessories. The pure turned perverse and toxic. The puppet like forms controlled by society’s imposition of what is acceptable and expected. The female form contorted without depth or real purpose rather than freed to grow organically into true contributors of society, into autonomous, self-determined individuals. The toxic series are almost comparable to religious icons; only the religious symbolism is replaced on fake foundations of the modern woman.
Semi-abstract large format oil on canvas depicts the female embodiment in many forms. The series is designed to be viewed from afar, each canvas accompanied by the next, reinforcing a new perspective, although each canvas, individually conveys the unequivocal clarity of modern times. Oppression, corruption, abuse of power and human rights, although only symbolically represented by the “nuclear hazard” and toxicity.
The smaller formats are dressed, literally with local baroque materials, lace and pearls together with the symbols of authority, medals, epaulettes and pins. The grandiose majestic textiles, evoking many memories from my previous stylist life, arouse elegant feminist overtones, underpinned by the finery of power motifs unveiling strength and purpose.
Ultimately, my paintings are a violent expulsion of what is within me: my experiences, my past, my present, and my future. They need to be big and colourful because I have many experiences to spew onto my canvasses, and it is much cheaper than paying for a therapist.
Toxic Life
The Toxic Life collection offers a snapshot of life from a woman’s perspective over of the centuries.
The latest works in the Toxic series thematically extend the message of humanity’s need to stand up against the evils of today’s corrupt and indifferent society. My colour palette has brightened and evolved from my previous dark period. The blue, red and yellow flashes are uplifting and vibrant, although the subject matter has stern undertones. As with Toxic Art, military emblems adorn all the subjects, having lost their path and buying into materialism and superficiality, the symbol of capitalism gone wrong. The vibrancy of the colours is representative of the energy and potential, which is diverted into opulence and prostitution of the inner-self. The soul is up for grabs at the mere price of outer beauty and obscured by modern accessories. The pure turned perverse and toxic. The puppet like forms controlled by society’s imposition of what is acceptable and expected. The female form contorted without depth or real purpose rather than freed to grow organically into true contributors of society, into autonomous, self-determined individuals. The toxic series are almost comparable to religious icons; only the religious symbolism is replaced on fake foundations of the modern woman.
Semi-abstract large format oil on canvas depicts the female embodiment in many forms. The series is designed to be viewed from afar, each canvas accompanied by the next, reinforcing a new perspective, although each canvas, individually conveys the unequivocal clarity of modern times. Oppression, corruption, abuse of power and human rights, although only symbolically represented by the “nuclear hazard” and toxicity.
The smaller formats are dressed, literally with local baroque materials, lace and pearls together with the symbols of authority, medals, epaulettes and pins. The grandiose majestic textiles, evoking many memories from my previous stylist life, arouse elegant feminist overtones, underpinned by the finery of power motifs unveiling strength and purpose.
Ultimately, my paintings are a violent expulsion of what is within me: my experiences, my past, my present, and my future. They need to be big and colourful because I have many experiences to spew onto my canvasses, and it is much cheaper than paying for a therapist.
To look through my extensive collection of larger than life canvases, one can appreciate the personal struggle and self-analysis, wrestling with my conscious embodied in my work. Being a frustrated, inactive supporter of the fight against all manner of injustices, whether human rights, power abuse, tyrannical regimes or any gender related bigotry or the futility of religious wars, it took an endless series of attempts to find my voice with my brush to communicate the best way I know how. I attempt to support the work of thousands of selfless, courageous people, putting themselves on the front line against those who insist on eradicating all that is moral, good and “decent”. With each canvas I dig deeper into my psyche and subconscious, in an attempt to excavate my own inner message long buried and plaster it all too plainly for all to see onto my canvas.
It is a very organic process whereby my hand is lead by my inner emotions. I see the blatancy of the work as a frying pan striking the observer with the violence of the message, but equally only revealing the hidden subtleties once one's vision is blurred caused by the blow of the frying pan, shedding light onto that which the obvious obscured.
Military paraphernalia decorates the characters by way of military caps, epaulettes and medals symbolising both the abuse of authority and the victims of that same authority. The images depict the pseudo-patriachical-democracy we live under, whilst our “leaders” denounce the dictatorial regimes with condemnation from a supposed higher moral ground. Under the guise of the Enlightement we preach what we believe to be our libertarian views, whilst by-passing any true sense of autonomy. Free we are not! In control, and powerful we walk through life, stumbling at the slightest gust of wind. Our lives are built upon lies and misconceptions which we are all too happy to unquestionably accept and live by. My use of colours is an expression and reflection of the rotting from within, the shiny golden hews barely covering what truly lies beneath.
Too often we don’t take the time to look past the outer shell, the label or disguise behind which lurks a surprising reflection of ourselves. Each of us possesses perverse and demonic character traits, a mini-dictator which takes over now and again. We are products of socialisation. The oppressive norms which we call normality or the middle-classes, the 2.4 family, are the shackles of 'modern' society. I express these in my body of work through my grotesque puppet-like figures, which are at times the oppressor, and at times the exploited as with Comrades. I aim to crudely expose the inner dark thoughts of the individual and of social collectives and translate them into the public, demonstrating the metamorphoses from the dark private to the acceptable public image.
The animals and creatures which appear throughout my works personify emotions and the most basic instincts, they are my versions of society’s totems. These are scattered throughout the works encroaching or resting on exposed, vulnerable human forms, almost exclusively on female forms, traditionally and stereotypically perceived as the most vulnerable of all. This is a depiction of the struggle of humanity against itself and the all too easy pigeon-holing into stereotypes and prejudices within society. It is a depiction of the sometimes triumphant, as in Destiny, sometimes doomed as in Fight for Freedom and at other times the static as in Survivor, not fighting against the current.
One of the first works I produced was Destiny. It was at that time a work that personified me, carrying the burden of responsibility and digesting each disappointment as it arose, with each new step or more aptly with each new stumble. The works are strewn with sarcasm and black humour paired with unlikely characters and creatures. It is my own inner derisory commentary. I do not aim to make an intellectual philosophical commentary in search of a ‘higher truth’, it is simply my words in oil, however clumsy they may appear at first sight. However, hopefully the clumsiness is dispelled when one feels the effect of the frying pan hitting and when viewing my collection as a whole.
Undeniably, there is a feminist undertone, but the images are an amalgamation of the oppressed and suppressed female form intertwined with a portrayal of strength, resilience and determination. As with Luxurious, women’s sexuality is strong and sometimes aggressive as a survival technique. Unfortunately, this is a technique which is the product of the socializing effect of the Western cultures, not in the promotion of inner strength and self-belief but in glamourized almost pornographic perceptions of womanhood. Women's strength in the mainstream subsists on unequal, gendered paternalistic foundations. The fickle images as a representation of strength is undeniably exposed and vulnerable, there for the ‘taking’ as with Beached Whale and Indoctrination.
My latest works in the Toxic series, thematically have changed, my colour palette has evolved and changed in direction. The blue and yellow hues and golden highlights are uplifting and vibrant, yet the subject matter has stern undertones. The female forms adorned in revealing bodices and military emblems, are like the young teenage generations of today, having lost their path and buying into materialism and superficiality, the symbol of capitalism gone wrong. The vibrancy of the colours is representative of the energy and potential, which is diverted into opulence and prostitution of the inner-self. The soul is for sale at the mere price of outer beauty and i-phones. The pure turned perverse and toxic. The puppet like forms controlled by society’s imposition of what is acceptable and expected. The female form contorted into it-girls or fashionistas without depth or real purpose rather than freed to grow organically into true contributors of society, into autonomous, self-determined individuals. The toxic series are almost comparable to religious icons, only the religious symbolism is replaced by an equally fake institution of the modern and equal woman/female girl.
Ultimately, my paintings are a violent expulsion of what is within me: my experiences, my past, my present, and my future. They need to be big and colourful because I have many years of thoughts to expel, and it is much cheaper than paying for a therapist.
Natasha Russo
To look through my extensive collection of larger than life canvases, one can appreciate the personal struggle and self-analysis, wrestling with my conscious embodied in my work. Being a frustrated, inactive supporter of the fight against all manner of injustices, whether human rights, power abuse, tyrannical regimes or any gender related bigotry or the futility of religious wars, it took an endless series of attempts to find my voice with my brush to communicate the best way I know how. I attempt to support the work of thousands of selfless, courageous people, putting themselves on the front line against those who insist on eradicating all that is moral, good and “decent”. With each canvas I dig deeper into my psyche and subconscious, in an attempt to excavate my own inner message long buried and plaster it all too plainly for all to see onto my canvas.
It is a very organic process whereby my hand is lead by my inner emotions. I see the blatancy of the work as a frying pan striking the observer with the violence of the message, but equally only revealing the hidden subtleties once one's vision is blurred caused by the blow of the frying pan, shedding light onto that which the obvious obscured.
Military paraphernalia decorates the characters by way of military caps, epaulettes and medals symbolising both the abuse of authority and the victims of that same authority. The images depict the pseudo-patriachical-democracy we live under, whilst our “leaders” denounce the dictatorial regimes with condemnation from a supposed higher moral ground. Under the guise of the Enlightement we preach what we believe to be our libertarian views, whilst by-passing any true sense of autonomy. Free we are not! In control, and powerful we walk through life, stumbling at the slightest gust of wind. Our lives are built upon lies and misconceptions which we are all too happy to unquestionably accept and live by. My use of colours is an expression and reflection of the rotting from within, the shiny golden hews barely covering what truly lies beneath.
Too often we don’t take the time to look past the outer shell, the label or disguise behind which lurks a surprising reflection of ourselves. Each of us possesses perverse and demonic character traits, a mini-dictator which takes over now and again. We are products of socialisation. The oppressive norms which we call normality or the middle-classes, the 2.4 family, are the shackles of 'modern' society. I express these in my body of work through my grotesque puppet-like figures, which are at times the oppressor, and at times the exploited as with Comrades. I aim to crudely expose the inner dark thoughts of the individual and of social collectives and translate them into the public, demonstrating the metamorphoses from the dark private to the acceptable public image.
The animals and creatures which appear throughout my works personify emotions and the most basic instincts, they are my versions of society’s totems. These are scattered throughout the works encroaching or resting on exposed, vulnerable human forms, almost exclusively on female forms, traditionally and stereotypically perceived as the most vulnerable of all. This is a depiction of the struggle of humanity against itself and the all too easy pigeon-holing into stereotypes and prejudices within society. It is a depiction of the sometimes triumphant, as in Destiny, sometimes doomed as in Fight for Freedom and at other times the static as in Survivor, not fighting against the current.
One of the first works I produced was Destiny. It was at that time a work that personified me, carrying the burden of responsibility and digesting each disappointment as it arose, with each new step or more aptly with each new stumble. The works are strewn with sarcasm and black humour paired with unlikely characters and creatures. It is my own inner derisory commentary. I do not aim to make an intellectual philosophical commentary in search of a ‘higher truth’, it is simply my words in oil, however clumsy they may appear at first sight. However, hopefully the clumsiness is dispelled when one feels the effect of the frying pan hitting and when viewing my collection as a whole.
Undeniably, there is a feminist undertone, but the images are an amalgamation of the oppressed and suppressed female form intertwined with a portrayal of strength, resilience and determination. As with Luxurious, women’s sexuality is strong and sometimes aggressive as a survival technique. Unfortunately, this is a technique which is the product of the socializing effect of the Western cultures, not in the promotion of inner strength and self-belief but in glamourized almost pornographic perceptions of womanhood. Women's strength in the mainstream subsists on unequal, gendered paternalistic foundations. The fickle images as a representation of strength is undeniably exposed and vulnerable, there for the ‘taking’ as with Beached Whale and Indoctrination.
My latest works in the Toxic series, thematically have changed, my colour palette has evolved and changed in direction. The blue and yellow hues and golden highlights are uplifting and vibrant, yet the subject matter has stern undertones. The female forms adorned in revealing bodices and military emblems, are like the young teenage generations of today, having lost their path and buying into materialism and superficiality, the symbol of capitalism gone wrong. The vibrancy of the colours is representative of the energy and potential, which is diverted into opulence and prostitution of the inner-self. The soul is for sale at the mere price of outer beauty and i-phones. The pure turned perverse and toxic. The puppet like forms controlled by society’s imposition of what is acceptable and expected. The female form contorted into it-girls or fashionistas without depth or real purpose rather than freed to grow organically into true contributors of society, into autonomous, self-determined individuals. The toxic series are almost comparable to religious icons, only the religious symbolism is replaced by an equally fake institution of the modern and equal woman/female girl.
Ultimately, my paintings are a violent expulsion of what is within me: my experiences, my past, my present, and my future. They need to be big and colourful because I have many years of thoughts to expel, and it is much cheaper than paying for a therapist.
Natasha Russo
