FIVE FOOT NINE INCHES, oil on canvas, 17"X90"
Five Foot Nine Inches is an abstract portrait in style and dimension that explores psychological expression utilizing art therapy specifically movement therapy to capture the immediacy of automatism and feeling expressed during a personal experience. The composition was first enacted and conceived through an intuitive open creative process in the form of automatic drawing studies. The fast paced, unstructured drawings were intentionally meant to capture feelings of intense compression in a moment of feeling judged by influential figures (in the monetary sense) that despite their first hand experiences of my value intellectually and physically, they continued to wield their preconceived judgments to diminish my value based on the old trick of using gender specific categorizing of the female as weak, less significant and expendable in certain circumstances, and at worst being defined by the genitalia and subjugated to being defined as the play toy of the sexual act. This creative expression and process was in no way intended to prop up or or justify any form of radical “feminism” as represented today, rather it is a personal catharsis to release and strengthen my belief in my abilities drawn from the universal human experience, and the idea of being a strong and well-rounded human being that is capable of “seeing the full picture” from all sides requires my determination to overcome antiquated feeble forces that attempt to limit my intellectual ability based on old assumptions, predeterminations and short sighted prejudices. I can only change myself, and through that change my example can change the minds of others. The viewer can see the painting from two perspectives: straight on and from the “worm’s eye view. When looking straight on the tall canvas is dissected by a thin white line, that when measured, as compared to my height of five foot nine inches, would cut me at the throat. My lips are smeared into the thick paint just above the line, which is reminiscent of having your head just above water. When looking from the “worm’s eye” view the composition forms the vagina as the very textural brush strokes emphasize the obvious.
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