Waxchick x Vasilisa Forbes



WAX is the latest project by Vasilisa Forbes which takes explicit, hyper-sexualized visuals inspired by contemporary advertising and Pop Art, to generate a dialogue on women’s representation in public media and the arts. With WAX, the lead image of the series starts with ‘Wax Woman As Table’ which was shown across a selection of London billboards to become a direct comment on its source (commercial imagery).
Following a discussion with artist ​Allen Jones​who is famous for his table sculptures, Vasilisa decided to raise the question of ownership of the female body by creating a direct link with Allen’s work through posing herself as table in a self-portrait. This opened up a series of self portraits titled WAX, a short film exploring female sexuality vs male dominance and a series of images titled Disarchy which deconstruct the ‘photoshop-perfection’ of the WAX series.




WAX raises a discussion of the visual identity of capitalist selling, objectification of the female body and the impact of popular-culture images of women. The fact we see these images projected in large format across the London cityscape directly addresses the public and our perception of public-to-private art, as well as notions of street art display against advertising. The WAX images address questions in young women of ‘taking back ownership of the body’ and how women choose to present it. The ‘photoshop-perfect’ WAX images take cues from historical portraits, (which reference the art-worlds usage of objects as presentations of glamour) and through this the objectification shown in WAX becomes directly sexual and immediately a comment on the ‘woman’s role’ and part she plays in advertising items, including within art works.


Vasilisa’s aim is to create a sensation of ‘power play’ with the historical ideal of how women should be presented in an image, and the modern aspiration of young women, including the element of aggressive sexuality and male fantasy to fuel the actions behind the poses in the series. The accompanying series ‘Disarchy’ which features deconstructed, ‘photoshop’ collages of the images in the series creates an immediate comment on this area – showing the points of edit, removing backgrounds and colours to show the core of the image, and address our obsession and use of the Adobe Photoshop tool; something that has been called ‘The New Readymade’ , or ‘the indisposable tool’ for all creatives. This becomes an important tool in discussing the display of women’s bodies, and the obsession with the ‘perfection of the female form’, being ‘fake or natural’, where a large dialogue unravels. With this, the WAX series took to the street to pose a question to modern viewers – can a woman objectify herself and what is the difference?


You can find out more about the WAX series over at Vasilisa Forbes’ website, Twitter, Facebook, and Instagram pages.






















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