‘Hysteria’ and the Misunderstanding of Female Anatomy @ Gillian Jason Gallery
Divided into two floors across Gillian Jason Gallery’s space in Central London, Hysteria offers viewers a solemn yet reflective exhibition of twelve international female artists whose works focus on the gender bias prevalent in mental, physical, and sexual health. The exhibition not only encourages viewers to familiarise themselves with the heartbreaking history of injustice but also provides a space for the participating artists to explore what these notions mean to them on a personal level.
Sitaara Stodel, Flashy, 2021 found photographs and gold vinyl on screen printed archival mounting board 31.5 × 31.5 cm
Upon entering, one is drawn to a series of collages grouped together on the left wall of the gallery by Cape Town-based artist Sitaara Stodel. Her work, which is centred around the concept of memory and how fragile it can be, also touches on the larger notion of the domestic. As disclosed within the online catalogue, Stodel’s work takes inspiration from the constant uprooting she had as a young child with her mother and sister and the mental hardships that are attached to the lack of domestic and geographic stability. The collages themselves are a testament to this, with each work focusing on domestic scenes.
Sitaara Stodel, Family Time, 2021. Found photographs on linen, 61x 51.5 cm. Courtesy of Hysteria online catalogue.
Flashy (2021) portrays a collection of windows, houseplants, and a radio, whilst Family Time (2021) depicts multiple photographs that have been cut out and pasted together as if an attempt to reconstruct a broken memory. With empty spaces where individuals should be and the sense of disconnect between the varied arrangement of overlapping or separated images, Stodel provides viewers with enough visuals to incite a universal memory – that of a family, a home, and stability – and then manipulates a suitable amount to make one question their own individual experiences.
Tolu Magbagbeola, A Wild Desire, 2022. Oil on canvas, 150 x 100 cm. Image: Skylar Whittle.
Also located on the main floor is Tolu Magbagbeola’s abstract picture, A Wild Desire (2022). Known for her intuitive approach to painting, Magbagbeola engages in a spiritual connection with the viewer through her practice. Thus it is clear that the work’s aim is not to depict ‘something’ but instead to allow the viewer to meditate on the abstraction of colours. This transcendental essence is certainly achieved by the quick, swirling brushstrokes formed in reds, oranges, greens, blues, and the occasional shock of white. Moreover, with her added use of earthy tones and variation of softly blended and dynamic brushstrokes, the canvas invites viewers to reflect for a moment before proceeding with the remainder of the exhibition.
Eve De Haan, You Look Good, 2021, neon on Perspex shelves and pink swimming goggles. Image: Skylar Whittle.
As one makes their way downstairs to the lower floor, they are immediately greeted by Eve De Haan’s You Look Good (2021) - a neon slogan and swimming goggles on Perspex shelves. Positioned in a darker corner of the room, the pink neon stands out and simultaneously alludes to the psyche of other Conceptual light artists, such as Bruce Nauman and Jenny Holzer. However, it is the choice of words that one focuses on and foregrounds its position within the current technological age. Concerned with the pressures social media has placed on women and their bodies, De Haan provides viewers with a playful yet stern reminder that one cannot conform to these pressures (or at the very least not take it too seriously).
Cosima Ross, Untitled (horse), 2022, oil on canvas tapestry, 200 x 150 cm. Image: Skylar Whittle.
Undoubtedly the protagonist of the exhibition is Cosima Ross’ Untitled (horse) (2022), whose innovative creation encapsulates the entire exhibition. As a self-portrait, the piece touches not only on the personal experience of the artist but, more importantly, that of women around the globe. Most notably, it highlights the severe injustice and blatantly negligent treatment women face when receiving medical support, especially in relation to reproductive health. Often identified as psychosomatic, millions of women are either misdiagnosed or denied treatment because there is not enough research on illnesses directed towards women compared to their male counterparts.
This is explored both literally and figuratively within the piece: firstly, by the artist holding up her own ovary and allowing viewers to see her scars from her surgery, and secondly, by the horse depicted alongside her, which acts as a clear metaphor for freedom and power. It is also interesting to note the way in which the horse is depicted overall: bigger both in size and shape compared to Ross’ body, the horse stretches itself from the top of the canvas to the bottom. It is hard not to notice the placements of its hooves that are lined up perfectly with the figure’s left leg, covered in white strips of fabric, which could be either a pair of tights or even bandages. Her eye contact, reminiscent of Frida Kahlo’s The Broken Column (1994), conveys her status as an artist known for her physical and reproductive struggles. With all these notions combined on the canvas, Ross’ overall piece is simultaneously fragile and strong, a touching tribute to those who have experienced these hardships, yet an inspirational message of strength, hope and courage.
Overall, Hysteria offers viewers a carefully curated show on the harsh reality millions of women continue to face, with a celebratory undertone that one is seen, heard, and validated. While the exhibition focuses on challenging topics such as loss, mistreatment, and exclusion, it also creates a space for conversation, solidarity, and upliftment.
Hysteria is on display at Gillian Jason Gallery until 18th February 2023.
Skylar Whittle
Contributing Writer, MADE IN BED