We caught up with three artists to interpret the famous lines of Carol Ann’s Duffy poem, ‘Standing Female Nude’

Six hours like this for a few francs.Belly nipple arse in the window light, he drains the color from me. Further to the right, Madame. And do try to be still. I shall be represented analytically and hung in great museums. The bourgeoisie will coo at such an image of a river-whore. They call it Art.

Maybe. He is concerned with volume, space. I with the next meal. You’re getting thin, Madame, this is not good. My breasts hang slightly low, the studio is cold. In the tea-leaves I can see the Queen of England gazing on my shape. Magnificent, she murmurs, moving on. It makes me laugh. His name is Georges. They tell me he’s a genius. There are times he does not concentrate and stiffens for my warmth. He possesses me on canvas as he dips the brush repeatedly into the paint. Little man, you’ve not the money for the arts I sell. Both poor, we make our living how we can. I ask him Why do you do this? Because I have to. There’s no choice. Don’t talk. My smile confuses him. These artists take themselves too seriously. At night I fill myself with wine and dance around the bars. When it’s finished he shows me proudly, lights a cigarette. I say Twelve francs and get my shawl. It does not look like me.

– Carol Ann Duffy

Seldom does a feminist say that a woman has never been objectified. In this poem, Carol Ann Duffy brutally talks about the model’s objectification and the skewed alteration done on women to please society. Deeply entrenched in the verses of the monologue, you could see a lurking hatred of the identity that is portrayed but not a reflection of her true self. Though she was the subject of his painting she felt there was no reason for him to feel more superior or brandish his brush in the name of art. We asked three artists to give us their interpretation and tell us what they each see in this true-nude standing woman.

Madhav Nair 

What lead you to illustration?

I joined an art and design school thinking I’ll do graphic design, but once I took a couple of illustration courses, I knew that is where I wanted to be.

What helps you shape and frame your illustration style?

I try not to think of it as style, but more as a personal voice. Style can be copied, it is the artist’s voice that makes the work original. The personal voice could be very basic, something as simple as the choices I make while picking out a subject to draw.

Do you feel as an artist you have to be synonymous with a consistent style or explore different paths in the journey of time?

I’ve never felt the need to stick to a visual style, it’s a lot more comfortable if you forgive yourself for being fickle with the way you see and draw things. A range of explorations is essential because not every ‘style’ works. I like work that shifts with the narration, a constant give-and-take medium and narration.

Is it harder capturing a larger story in a single illustration?

Not really. Depends on how well you can boil down the story into a single illustration to complement the story rather than mirror it.

If not for illustration what other medium would you consider to express your ideas?

Having done comics and illustration for the past couple of years, I don’t think I’ll ever need another medium after seeing what these things can do. Nevertheless, there’s a lot of narrative
possibilities in web-based toys, bots and ‘net art’, and I’m trying to figure out how I could bring comics and post-internet art together.

There is a certain school of thought that points out a distinct difference in which a man views women in contrast to how a woman views women. What is your view?

I think that is very subjective, but on the other hand I believe there should be no place for any kind of bias in an informed democracy.

Females in Focus ( We asked the artist to share three strong female protagonists in the literature they have enjoyed)

 

Jasjyot Singh

What lead you to illustration?

I can’t remember a time when I wasn’t drawing. My love for creating new characters and sharing them with people everywhere is what lead me to illustration.

What helps you shape and frame your illustration style?

I think it has a lot to do with early influences, and the cultural visual vocabulary that’s part of one’s childhood. For me, specific mediums caused me to draw things a certain way. Some of these
things lingered, and became part of how I draw things. When I used a micro tip, I drew faces in a particular fashion. I almost never use that pen to draw anymore. But even if I use another medium, it all just blends in to form an illustration style.

Do you feel as an artist you have to be synonymous with a consistent style or explore different paths over time?

I have developed different styles over time in my practice as an illustrator. It depends on the nature of the project, so it is good to be flexible with style.

My personal work follows a style that may not work for every commercial project. I get to draw so many different things and work with tons of people from varied professional backgrounds; I find
that invigorating about illustration as a profession.

Is it harder capturing a larger story in a single illustration?

It can be challenging, but it’s definitely not impossible. It is important to get to the heart of the story and find a moment that resonates most clearly. And that usually works as the most effective storytelling device.

The way a women views a man differs from a man’s view of a woman?

For me, it comes down to people who are sensitive about issues of gender, sexuality, and body. That is at the core of people’s outlook towards issues that pertain to women or men. It could be
anyone. I would love to live in a world where that sense of freedom of being who you want to be, and doing what you want to do, isn’t a privilege.

Females in Focus ( We asked the artist to share three strong female protagonists in the literature they have enjoyed)

 

 

 

 

 

 

 

 

 

 

 

 

Vishnu M Nair

What lead you to illustration?

Drawing, painting and sketching were always my interest; as well as storytelling. It was only natural that both of these would manifest themselves later in my life as ‘illustration’.

First impression when you read the poem.

The poem echoes raw vibes similar to hip-hop – a ranting monologue fuelled by emotion. An evidently strong and unapologetic woman figure, painting a vivid picture of her times and circumstances.

What helps you shape and frame your illustration style?

The model offers perspectives – both her own and that of the artist.This contrast and the strong imagery created within the poem demand their own representation.

Do you feel as an artist you have to be consistent with a style or explore different paths over time?

Style, for me, depends on context. The context could be a poem (like in this instance) or, just bad weather. That being said, I also consciously try to do something differently at every avenue I get.

Is it hard capturing a larger story in a single illustration?

It is hard – but it is more fun also. It demands greater reflection. And in scenarios where the outcome is subjective, it makes you question the perspectives you take as well – which is always interesting.

If not for illustration, which other medium would you use to express your ideas?

I would love to try motion pictures.

There is a certain school of thought that points out a distinct difference in which a man views women in contrast to how a woman views women. What is your view?

You can’t necessarily generalise viewpoints – it all depends on, yet again, context.

How a man views a woman or a woman views a woman depends on their own circumstances – their experiences, upbringing and in many cases, intuition.

Females in Focus ( We asked the artist to share three strong female protagonists in the literature they have enjoyed)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Words by Atheena Wilson Illustrations by Jasjyot Singh, Madhav Nair, Vishnu M Nair

Compilation by Studio Kokachi