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ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020

Sketch for a Still Life, 2020

Marquetry Hybrid
50 x 63 in
127 x 160 cm
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Further images

  • (View a larger image of thumbnail 1 ) ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
  • (View a larger image of thumbnail 2 ) ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
  • (View a larger image of thumbnail 3 ) ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
  • (View a larger image of thumbnail 4 ) ALISON ELIZABETH TAYLOR, Sketch for a Still Life, 2020
Following a tradition from western art history Sketch for a Still Life portrays the subject as an object. It applies the trope of the passive objectified odalisque to a young...
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Following a tradition from western art history Sketch for a Still Life portrays the subject as an object. It applies the trope of the passive objectified odalisque to a young male playing video games on his couch. This subject is engaged in a simulation of masculinity via the bloodless violence of the first-person shooter. This work is a small gesture to help in the process of unseating the dominion of male subjectivity in art. The subject is also affected by the lockdowns of 2020. Staying home for weeks, seeing no one, staying away from other people is a heroic act. By staying on his couch and not bothering to dress, he is pitching in as everyone must to stop the spread. Strangely, passive masculinity is now a crucial part of a great societal effort.
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