Julia Fullerton-Batten’s models seem naked in their nudity, and this is not just a clever play on words. John Berger, in his book Ways of Seeing, explains the difference: “Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.”
Here, in Fullerton-Batten’s Unadorned series, each model is indeed nude, as Berger suggests, posed on display, manipulated by the photographer to convey an idea, however . . . because he or she wears a certain type of nudity in the vein of old world masters from the 15th – 17th centuries . . . and because they are arranged in contemporary settings by female hands . . . and because their bodies are curvy and soft, as opposed to thin and hard . . . what results is also a fascinating feeling of nakedness: a complex historical/sociological revelation of us as a species in relation to gender, weight, and image.
Megan Van Groll paints women– mediating on the fine line between nakedness and nudity, or how these two concepts relate to freedom or identity. Likewise, from bathing in cocoa puffs to sensually brawling at a donut shop, her food motif is an interesting one, often working in tandem with the female form– provoking thoughts of fetish from the outside, but also, a much more personal and complicated binging ceremony.
Of her own craft, Groll states, “My narrative portraits of women are, at their core, a painted attempt to understand and portray how modern women create identity and meaning from the world around them. I am interested in exploring the way we perform our projected ideal personas, for ourselves and for others.”