Edith Waddell Creates Hallucinatory Symmetry With Feminine Motifs And Hybrid Botanicals

Edith Waddell - AcrylicEdith Waddell - AcrylicEdith Waddell - AcrylicEdith Waddell - Acrylic

Edith Waddell’s vibrant, surreal paintings form beautiful, symmetrical imagery filled with otherworldly flora and fauna. Her work combines feminine motifs, strange creatures, and delicate, pastel colors to create hybrid imagery. Full of symbolism and feminine spirituality, Waddell’s work does not just depict elements of the natural world, but the emotional, inner self. Her choice of colors seem to glow in neon hues, creating intense visuals that almost seem hallucinatory. Each composition blooms in beautiful symmetry, as they resemble inkblots tests one might see at a psychiatric exam. This resemblance reflects upon our inner psyche, as Waddell often pulls inspiration from imagery often found in her dreams. Many of her compositions resemble the female anatomy, with heavy maternal symbolism expressing the womb. Although whimsical and vivacious, there is an element of darkness that can be found in her work, like the reoccurring skull and the all-seeing eyes. There is a conflicting nature present, as there are elements of life in her budding flowers, but also death in the skulls and bones.

Originally hailing from Peru, Edith Waddell is now based out of LA. She is an artist of many talents, as she not just a painter, but an illustrator and printmaker. She often combines collage, digital, and traditional paintings to create her crossbred, botanical imagery.

“My goal is to make visible that which is overlooked, confronting the public with the dark and mysterious aspects of their own psyches, emotional struggles, and their relationship with the natural environment. My work is an invitation to make an introspective examination and reflection into our own existence, both physical and spiritual.”

-Edith Waddell

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Theresa Honeywell Shows Us A Softer Side Of Macho With Her Knit Guns And Tools

Theresa Honeywell - Knit and EmbroideryTheresa Honeywell - Knit and Embroidery

If you think your jackhammer and motorcycle make you look tough, just take a look at Theresa Honeywell’s knit accessories! What says “macho” better than tools and guns made out of knit fabric? This Washington D.C. native takes traditionally masculine objects, and gives them a feminine edge by creating them with knit and embroidery. By using methods that have previously been labeled a “feminine craft,” she sparks a dialogue on the masculine and feminine and what it means to align objects with these social constructs. Studying sculpture at university, she combines her talents in three-dimensional art with her interest in combining art and craft. The dichotomy between feminine and masculinity paired with art and craft challenges our pre-conceived notions of these themes.

It is interesting that knitting and embroidery have traditionally been perceived as feminine, when masculinity is often associated with labor-intensive tasks. These two techniques are in fact incredibly time consuming and require a lot of labor and skill.  You can see the astonishing details includes in Honeywell’s work while examining every stitch and bead in her work. The artist even included the brand name of the jackhammer, and the pink and purple motorcycle is actually life size! Her intricate, delicate sculptures really show us the softer side of these “masculine” objects.

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SD Holman’s Portraits Of Female Masculinity In BUTCH: Not Like The Other Girls

Beardo

Beardo

Baby-Daddy

Baby-Daddy

Fiona

Fiona

Flannel Shirt

Flannel Shirt

Photographer SD Holman uses her talent as a portrait photographer to capture women who fall outside of the traditional gender binary. In her series “BUTCH: Not Like the Other Girls,” masculine women are not oddity or other. These are photos of women who identify as butch captured by a butch woman—they are women defining themselves. In this way, Butch has much in common with the current social campaigns stripping women of makeup, enhancements, and retouching and declaring them more beautiful without the artifice. This is part of Holman’s intent with the show—to use the Butch identity as an example of one of the classifications through which women are objectified. The difference though is the hate and fear that Butch women have faced as transgressors of societal constructs of femininity. Holman says:

“Butches and all gender variant folk walk in a world that is really hostile to them, so we tend to look inward.  I was inspired to show their beauty by my wife Catherine, a femme who loved butches, and encouraged me to do this when I started talking about it.”

The rich diversity of butch women is evidenced here. Just as there isn’t one way to be a woman, Butch includes women of all shapes and colors and styles. The fluidity of gender is apparent in each photo.

Holman is an artist. Her portraits are classically beautiful, with their artful lighting and dramatic contrasts. The subjects mostly gaze through the lens to the viewer, unapologetic and authentic. There is no contrivance in these images, no sense of willful provocation nor is there any sense of apology. Author Amy Bloom writes, “Intimacy is being seen and known as the person you truly are.” These photos are intimate and groundbreaking, brave and matter-of-fact, beautiful and handsome.

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