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Régine ThillSans titre 16

Painting
One of a kind work | Ready to Hang
100 W x 100 H cm
$2,093
Recipient of the dedication:

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Technique
Oil painting
Type
One of a kind work
Material
Mounted Canvas
Dimensions
100 W x 100 H cm
Framing
Quality Guarantee
Sold with a certificate of authenticity

At first glance, one could consider these women as objects of contemplation that offer themselves to the gaze, as recreational pauses or even worse, as one can sometimes suggest to me and to use the words of the journalist and feminist Mona Cholet, "libidinal stimulants". But this is not the case, and if we linger a little and pay attention to the postures of the bodies, to the relationship of the bodies to each other, the hidden parts, the shown ones, the details, the facture, the place of the bodies in the space and their relationship to the frame, the gestures of the bodies too, I dare to hope that the question that drives me emerges: femininity, the image of the woman in all its complexity, in its ambiguity and contradiction as well!

Régine Thill
France
  • KAZoART artist since 2018
  • 26 works

Régine Thill explores the representation of the female body. His paintings are rarely self-portraits but their evolution is eminently autobiographical. They question the contradictions that surround the image of women today (and mainly their own), torn between feminism or neo-feminism and affirmation, exhibition of femininity.

It represents naked women’s bodies most often or with certain female attributes; these bodies merge into each other, mingle, conjugate, interpenetrate, juxtapose, superimpose, telescope and stack each other....These images of bodies come from multiple sources: the female press, even male, Instagram (a real breeding ground), sometimes with the great masters, Rembrandt, Rubens, Titian, Michel -ange...... She draws them, re-draws them, fragments them, distorts them and combines them in many ways to form women’s interlacing. These jumble of bodies may appear as scenes of orgies, but are in fact "landscapes of flesh". They evoke bodies struggling in an "in-between", oscillating between the desire to assume their singularity, to claim their imperfections, their defects, their wounds, their sufferings and the submission to society’s injunctions to perfection, to unattainable criteria of beauty.

Régine Thill’s paintings mix "naked" and "naked" (1): the "nakedness" associated with embarrassment, the embarrassment felt by the helpless body of her clothes, fragile, defenceless and the "nakedness" evoking self-confidence, the body flourishing, triumphant, balanced, dominant, proud. Each painting is like a braid or a weave: several "strands" passing sometimes above, sometimes below and which question in their points of intersection, the contradictions and ambiguity of the image of the female body.

(1): She borrows the distinction between the two terms from art historian Kenneth Clark.

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