This series is an exploration of the idea of anonymity in dealing with the artistic nude, and how it can be a safety net for the viewer in order to amicably accept it. Certain well known artists in the past--Edouard Manet with his depiction of "Olympia", or Valie Export with her feminist nude performance works, as examples--have demonstrated through frank treatment of the nude form that audiences are uncomfortable when the naked body acknowledges its specified features, or when the assumed "male gaze" is confronted. There is comfort to be found in the idealized and oblivious nudes of the Renaissance, such as Boticelli's Venus.
This series makes heavy use of floral imagery, which is why I have entitled it Primavera, the Spanish and Italian word for "Spring". I have long been fascinated by the pairing of the feminine form and flowers. Both of these artistic tropes have been used to symbolize--however erroneously--an idealized expression of feminine beauty, fecundity, and fragility. The idea behind this series, ultimately, is the use of flowers--one typical symbol of beauty--in order to transcend the "naked" body into the "acceptable" realm of the artistic nude, another symbol of beauty. I aim not to challenge viewers with a depiction of nakedness, but instead have them acknowledge the fact that they still crave anonymity in order for consumption of the naked body to be successful. In addition, the last image in the series depicts the torso of a cisgender man, challenging the society's mainstream ideas about femininity and masculinity while making fun of this need for anonymity of the feminine nude.