Hannah Murray’s practice centers on ideas of feminine power, and the nuanced implications that surround embodiment, seduction, and control. The women in the work are depicted in a variety of interior scenes, either alone or in the company of men. Modeled after the artist’s friends, and occasionally their real-life partners, Murray casts these women in positions of authority over their situations—positions where they find both pleasure and subtle discomfort.
Her paintings unfold in stages. There is a familiarity to the scenes on first glance, but upon closer examination, the uncanniness begins to reveal itself. The treatment of textiles, a hallmark for the artist, references a larger history of painting that use these devices to seduce the viewer. Silks, crushed velvets, and animal furs provide a visual tangibility—we know how these fabrics feel, and yet we can’t touch them. Murray also leaves parts of the linen unpainted and exposed, furthering the connection to textile. Conversely, the skin of the models is rendered in a way that rejects objectification, collapsing a typical representation of femininity. The use of blue underpainting provides an otherworldly glow to the skin, which expands the uncanny nature of Murray’s world. It’s all part of the game the artist plays with the viewer, simultaneously pulling them in and pushing them away, daring them to play along.
[excerpted from Marinaro website: www.marinaro.biz]
