BA Fine Art, Chelsea College of Arts 2018
Zoe's practice started with the exploration of the colour pink and the way in which it is used to enforce gender stereotypes throughout Western society. Over time this investigation led to more than just as fascination with the colour and now Zoe aims to not only uncover the colour, but to apply it and over saturate it in different environments.
Zoe has started to use digital infrared photography to create her work. The false-colour infrared, which registers shades of greens in a hot iridescent pink, was initially intended for aerial vegetation surveys and eventually was used for military surveys. Zoe wants to re-contextualise the medium, creating soft, surreal, dreamlike pink landscapes, a far cry from its previous military uses.
The addition of the female form came shortly afterwards, as Zoe began to further explore the incorporation of landscapes into her practice. Looking to historic paintings depicting landscapes, she found a trend of vast landscapes featuring nude goddesses placed there for no apparent reason. This echoed with Zoe as a young woman and the way in which we depict the female form in wider society. Mimicking the classical poses from paintings such as Botticelli's Venus, Zoe not only critiques the current objectification of the female form, but also the reclamation of the her own body. The use of infrared photography pushed this even further; having been originally used to uncover people that were concealed, Zoe is now using it to highlight what is hidden in a new way.
"I hope my audience will see the romantically beautiful imagery and delve a little deeper into the themes I reflect on within my work. Although it is not vital to understand the themes, I enjoy when my audience interprets my work and comes up with concepts around it."