2018 BFA Thesis
Central Washington University
Enamored by the beauty of the body when context is removed and the viewer is left to discover the flesh anew, Trisha Hall created this series of paintings and photographs.
In this body of work, FLESH, she studied intimacies in the details of the nude form and capitalized on the unfamiliarity we experience when viewing familiar parts of the body at a larger scale. When creating figurative art, the viewer is faced with undeniable content associated with the nude form: body politics around nudity, gender roles, body confidence, and sexuality. Her goal in this work was to create images of the body that help to liberate the viewer from the confines of preconceived notions revolving around the body. She strives to fight the negative and sexual stigma revolving around nudity, smash conventional gender roles associated with the body, create work within the spectrum of masculinity and femininity rather than the gender binary, inspire a new brand of body confidence, and show sexuality as an ordinary fact related to humanity and the body.
She created this work that explores the flesh, the politics, and the potential of the body as a medium to create art. The nude form became her canvas. Using color theory, passive and active body language, and texture of the flesh in her photography and paintings, she introduced new content for the viewer to process. She forced the viewer to see segmentation and isolated parts of the body creating nearly abstract compositions and unlocked potential for introducing her own agenda. In a majority of her work, she focused on the intricacies of fingers. Hands fascinated her within the context of her art for their innate lack of gender, identity, and for their ability to express gesture and introduce new content. Using fingers, body language becomes more apparent and intentional. She is able to create tension within her compositions, and allow her models to respond to their own figure within the context of her work.