Olivia Wilson in Conversation with Miranda Forrester

Concerned with addressing the invisibility of queer, black womxn, and their absence throughout art history, Miranda Forrester’s work is delicate and celebrates the joy of occupying feminine identities. Lines trace the contours of figures whilst patches of colour add texture to the picture surface. Evocative and thoughtful, Forrester’s works are full of strength, urging womxn to challenge the traditional male gaze, and to take control of the representation of our bodies, which have long been fetishised. Forrester’s paintings capture quiet moments of solitude. Large expanses of emptiness and layered translucent materials are populated with lines of colour and plants. Bold figures occupy the space, authoritative yet tender, nonetheless they articulate the strength in vulnerability.  

In this interview, Olivia Wilson, MADE IN BED’s Reviews Editor, speaks to Forrester about her artistic practice, the necessity of authentic representation for queer womxn of colour and her greatest inspirations. 

Miranda. Source: https://mirandaforrester.portfoliobox.io/.

Olivia Wilson: Paint us a picture of your artistic journey and how you got to be where you are today? 

Miranda Forrester: I started properly getting into art and developing my style during my GCSE’s and A Levels at school. After that, I knew I wanted to pursue art but I didn’t know how. I thought I’d just get a job in a gallery or work with young people. So, when I started my BA, I saw it was possible to become an artist and that I could make it work. 

I had my degree show in the May of 2020 and was included in the Babes ‘Alternative Grad Show’ in the August, so I knew I had that coming up. That was a great springboard and great to have to work towards. I received a lot of press and interest, so a lot of work came from that show. Everything rolled off that starting exhibition for me. 

OW: When did you first see yourself as an artist? 

MF: Maybe when I sold my first painting. Although, of course it isn’t all about the financial side of things, it’s really nice to have that affirmation. [Knowing that] somebody actually wants to have your work on their wall is encouraging! 

Three Graces (2019), Miranda Forrester. Source: https://mirandaforrester.portfoliobox.io/. 

OW: What messages do you wish to communicate to those who view your work? 

MF: I want to give a sense of peace and vulnerability, being rooted in your body, your space and surroundings - more of a feeling than an overly political message. I just think so much of what is in the media focuses on the violence surrounding black people: police brutality and all these things. It’s obviously an important discussion, but sometimes I feel like the ‘the struggle’ is the only narrative within which you see black people. So, I want my paintings to showcase a very simplistic message of being allowed to exist, with space to move freely. I want to give a sense of being still, at one with yourself. 

OW: As part of your process, you layer translucent plastic over your paintings, which are painted on highly primed, glossy surfaces. What is the significance of this and how is it an important part of your art-making process? 

MF: If I’m working on canvas, I use a highly primed surface, which is quite laborious. But, for me it is worth it because when I start painting, the paint glides smoothly over the surface and is so silky. The feeling is also amazing! With the use of plastic, I had been painting on lots of translucent surfaces like glass and hard sheets of Perspex. Then I found this material PVC and found it so interesting to work with in the way that you can stretch it and layer it to create shadows. So, the gloss areas of the painting are these kind of figurative shadows and are highlighted when I use this material. When lit from behind, amazing shadows are created. It’s another way to play with layering. 

Monstera (2020), Miranda Forrester. Source: https://mirandaforrester.portfoliobox.io/.

OW: Your work addresses the invisibility of women of colour and non-binary people of colour throughout art history. Can you talk a little bit about why subverting the traditional male gaze is so important and necessary to you?  

MF: I feel it is rare to see any representations within the history of art that are relatable and authentic. Even when there are paintings of black womxn, mixed race womxn, or people of colour, they are not painted by those same people, it’s always someone else’s voice. It’s important that everyone has their place in art history and can see themselves in works and can feel like they relate to the people in those paintings. 

OW: Do you consider your audience when you are creating your art? 

MF: I guess I don’t have a specific audience in mind when I paint. I do think about people who are black, who are queer, I want them to feel seen, feel like the people in my paintings could be them. But, I wouldn’t say I overly think about an audience unless the painting is of a specific person that people might recognise, that is the only time I might be hesitant to reveal too much or too little about the person. 

Doing the Things That We Do (2020], Miranda Forrester. Source: https://mirandaforrester.portfoliobox.io/

OW: Do you have an achievement you are most proud of? 

MF: I think I’d have to say my commission for Soho House, which I did this year. It will be my largest work to date. I can’t share details yet, but I will be able to soon and I’m really proud of that and very excited!  

OW: Contrasting that, do you have something you regret doing or are not so proud of? 

MF: In a way, can you have any regrets as you learn from every experience you have? Even if you were to participate in an exhibition that wasn’t worth the time or effort, you still gain something from that experience. You’ll get to a point in your career where you can be selective about what you do, but at the start you need to take on everything presented to you and see how they go. 

OW: Who inspires you the most? 

MF: Tschabalala Self, I love her paintings. Lubaina Himid and Zanele Muholi, their work is incredible and inspired by their use of composition and lighting. Also, people around me - my friends. 

Up Late (2020), Miranda Forrester. Source: https://mirandaforrester.portfoliobox.io/

OW: I read a quote by Zanele Muholi yesterday and immediately thought of your work: “If I wait for someone else to validate my existence, then I am shortchanging myself.” In your work, like you said, you are representing queer, womxn of colour, you are not sitting, waiting for their representation, but actively creating it. 

MF: Definitely. When I think about it, there are so many artists who I relate to on one aspect of my identity. For example, I love Cecily Brown and how she expresses sexuality and I relate to her as a woman. Then, I’ll relate to someone else’s work as a queer person, someone else’s work as a black person, but it is difficult to find someone whose work encompasses all those things. I feel, in a way, I’m pressured by others to pick a domain I want to focus on. So, it is important that I showcase all these things, demonstrating how womxn are multifaceted and can’t be pigeonholed into one box.  

Thank you, Miranda.  

Read more about Miranda and her work on her website here.

Olivia Wilson 

Reviews Editor, MADE IN BED