BA Art & Psychology
- BTS Brunch
- Influencer
- Liminal Transit Diptych
- Liminal Transit II
- Liminal Transit I
- Virtual Eden Triptych
- Virtual Eden III
- Virtual Eden II
- Virtual Eden I
- Sketches
Statement
Documentation
An Exploration of the ‘Connectivity’ of social media and its impact on Women’s Self-esteem and Social identity in a Contemporary Context.
Contemporary society is wired together through our pervasive use of digital mediation and online ‘connectivity’. Although, social media platforms such as TikTok and Instagram were initially manufactured to foster closeness between society, it has instead created this illusion of connectivity- one that lacks true intimacy. Research has shown that frequent engagement of these apps negatively impacts self-esteem, identity and body-image, particularly in young people1. My paintings explore these profound yet unspoken conversations around today’s social media and how these platforms not only reshape society but also the experiences young people and women face through persistent media consumption.
The paintings I have produced explore different aspects of social media’s profound impact on today’s society. These works tell a story, highlighting a broader narrative of disconnection in our increasingly digital world. “Liminal Transit” highlights the disconnection within society, each panel capturing moments of “transit” where individuals exist in a state of both movement and detachment from reality and proximity from each other. “BTS Brunch” also comments on the lack of human presence, exploring the tension between social media and interaction. “Influencer” shifts the focus toward the performative as well as isolating nature of social media. The exaggerated use of screens was pivotal for my work as I wanted to create a narrative for the audience to consider their own media consumption.
This concept stems from a reflection of my own engagement with social media and my observations of how these social media platforms influence young online communities. This curiosity deepened after visiting Nicole Eisenman’s exhibition What Happened at Whitechapel Gallery, particularly Gallery 8: Screens, Sex, and Solitude2. Eisenman’s exploration of technologies impact on relationships, coupled with her vibrant use of colour and lighting as well as her chaotic choice of composition, deeply informed my artistic choices. Particularly, my saturated tones and contrasting colours, which evoke the disconnection between nature and the digital world.
Throughout my painting process, I explore these central themes by employing a range of media such as digital collaging, drawing, acrylic painting. The staging and compositions of my paintings was a conscious decision, designed to provoke specific responses in my audience. Chaotic compositions were my main focus, as I wanted the viewers to feel encapsulated and overwhelmed, mirroring the sensory overload of social media. This process draws parallel to the work of Eisenman and Salman Toor, who similarly explored the relationships between figuration, emotion and narrative-driven staging2,3. Their use of figuration to create emotionally charged, chaotic compositions inspired my approach to capture social media’s impact on the mental health of young people and women. I approached this staging by creating sketched collages, using a combination of photographs I captured myself and images sourced online. These sketches served as the foundation for my paintings. I transferred the drawings onto canvas, building them with gestural, textural brushstrokes that evoke movement and intensity, much like the textures and brushstrokes served in Toor’s narrative paintings.
As my practise has developed, I began to explore more intimate and relatable perspectives whilst maintaining the same sensory overstimulation. My most recent works “BTS Brunch” adopt a point of view perspective, inviting the viewer to feel embedded in the scene. This composition was intentional as I wanted to heighten the immediacy and immerse the audience to take a step back and consider their social media consumption. In contrast “Influencer” shows an isolated figure consumed by social validation, exposing the career-driven, performative pressures placed on young women on online platforms.
In regards to subject, exploration of women as my subject, stems from the recognition that women are disproportionately impacted by the pressures of social media. By focusing exclusively on women, I aimed to highlight these experiences while creating a space for viewers to reflect on how digital platforms shape perceptions of femininity and self-worth. Contrary to Celia Hempton’s work, which features intimate paintings based on exposed online imagery, their work provided me with insights into themes of the post-digital age, particularly around issues of consent and body image surrounding women4.
Furthermore, presentation was deliberate throughout my project. Inspired by Allison Katz’s exploration of scale in Artery at Camden Art Centre, I worked within a consistent scale of 90–150 cm to heighten the immediacy of my pieces5. Additionally, the diptych draws from Hieronymus Bosch’s The Garden of Earthly Delights, which weaves together my chaotic narratives with personal visual identities and multi-layered storytelling6. The separation between panels in “Liminal Transit” was an intentional decision as I wanted to emphasise the narrative of a disconnected society. Referencing these artists, helps shape the audiences experience and interpret my themes on disconnection, media consumption, and identity in this digital era.