Invisible barriers
Barriers cover a lot, they cover the physical like obstacles, dead ends, and locks but they also cover internal barriers – our own barriers that others don’t see. Call it what you want but most people at some point have faced imposter syndrome, being self-conscious or a lack of confidence. This is often something associated with presenting inwardly, being introverted or quiet. Some people find it easier to express themselves through creative ventures – especially when aiming to break those barriers down or create conversation around them.
One artist who works to showcase the things we all try to hide is Canadian artist Maud Mansen. Mansen explores the ideas of insecurity or self-consciousness that we are all familiar with by presenting compositions which focus on the cellutlite, the wobbly bits, the embarrassing moment that we all try to build barriers around so others can’t see. She does this in a way which is colourful, energetic and beautiful – promoting the idea that these barriers aren’t needed and are in our minds. In ‘Come into View’ (2021) we are presented with a subject who seems to have fell asleep while riding on the bus or train. The painting focuses on the subject’s squished up body and wide-open mouth, ‘catching flies’. This typically ‘imperfect’ representation of a subject is comforting and intriguing due to the colours and textures used within the paint that invite us to be a part of this intimate moment – showcasing that this moment doesn’t have to be so bad and something to be insecure about. Similarly in ‘Opening night’ (2021) we see the main subject hiding away behind a curtain getting changed – the composition is cramped and uncomfortable – much like the subject trying to hide herself. However, this contrasts with the bright kitsch colours that make the painting flip from negative to positive – from dark to humour.
In contrast, Australian based artist Prudence Flint also gives focus in her works to the private and intimate moments of our lives in which we are comfortable behind our private barriers – the moments we don’t let others see for no other reason than that they’re only meant for us. Flint presents these moments in a candy pastel palette making them sweet, innocent, comfortable and familiar. In ‘Blue Cotton Dress’ (2017) we’re presented with a subject in a state of relaxation, lounging on the bed enjoying some time alone. Additionally, in ‘Baby’ (2015) we are presented with a private moment between a mother and baby. While the painting themselves reinforce these private barriers, the act of presenting these in a public space is itself creating a conversation around the private and public and barriers associated with this in our lives and minds.
It is this conversation thread that runs through all of these artworks – the idea that we have our own internal barriers that we represent physically in our worlds by different behaviours or ways of doing things. That we all have private and public personas and that these barriers can be both a good and bad thing, something that we hide behind in fear or equally something that we find peace and tranquility in. Much like the paintings from both Mansen and Prudence, as a reflection of our barriers – we are left to decide how to interpret them.