Schizogony 

Editor: This is "Schizogony" by Sarah Joncas. The portrait is painted with acrylic, and it evokes a feeling of unease, perhaps even a clinical detachment. What socio-political narratives do you see reflected in Joncas’s artistic choices? Curator: Well, immediately, the title draws my attention. "Schizogony" refers to a form of asexual reproduction found in some parasitic protozoa. Pairing that biological process with a seemingly human portrait pushes me to think about ideas of fragmentation, reproduction, and potentially the manipulation of bodies. Knowing the context of contemporary anxieties surrounding biotechnology, genetic modification, and reproductive rights deeply informs how I interpret the image. Editor: That's fascinating! The asexual reproduction you mentioned contrasts sharply with the woman's sensual, glossy lips. Is that tension intentional, in your view? Curator: Precisely! It creates a dissonance. Is this woman being "grown" somehow? Consider the period in which this was created, when questions were arising surrounding bodily autonomy, particularly for women. Does her gaze project vulnerability or a silent scream against forces acting upon her? The clinical palette and surreal tendrils around her head could be a visual metaphor for external influences and anxieties pervading private space and experience. What do *you* think the location does to this interpretation? Editor: I agree, the tendrils now make me think of technological invasion, blurring boundaries. Perhaps a social commentary on privacy. The setting could be read in the tradition of portraiture where we are to believe we are encountering a member of society. I appreciate your emphasis on context – it completely changes how I see the portrait. Curator: It is all about understanding the narratives at play and how Joncas positions herself and her subject within them. Editor: This was illuminating. I will consider societal implications and technological anxiety from now on when analyzing paintings. Thanks so much!