Ocelli 2017

Editor: We’re looking at "Ocelli," a 2017 oil painting by Mary Jane Ansell. The level of detail is amazing, especially the way the light plays on her skin. What immediately struck me was the peacock feathers woven into the hair—they feel so deliberate. What do you see in this piece? Curator: What strikes me is the labor, both physical and conceptual, involved in its making. Consider the oil paint itself – ground pigments suspended in oil, painstakingly applied layer upon layer to achieve this almost photographic realism. It's a contemporary piece, yet the technique echoes centuries of portraiture. The artist is engaging in a very conscious act of material translation. What's the cultural status of 'high art' painting versus illustration or fashion photography these days? She's right on the line. Editor: That’s fascinating! So, you're saying the artist is making a statement about the value and status of different forms of artmaking? Curator: Precisely. And let’s not overlook the consumption aspect. Oil paint, brushes, canvas – all commodities within a global art market. Then there’s the implied consumption of beauty ideals. How does this carefully constructed image relate to societal pressures on women? The inclusion of the peacock feathers isn’t just aesthetic; peacocks themselves have become these symbols, of beauty, even decadence. Editor: That connection to consumption is really interesting – the materials themselves, but also the ideas being consumed. It changes how I see those feathers, not just decorative but symbolic of broader societal forces. Curator: Absolutely. It moves beyond simply admiring technical skill, and asks us to interrogate the means and motives behind the image. What impact will such painting production and material have on the world’s future, especially as people begin consuming them for their own fulfillment and pleasure. Editor: Thanks for providing some unique angles on this artwork, it has been really thought provoking.