Charlotte Broomfield-Payne — Recent Works
Posted on August 28, 2012
Charlotte Broomfield-Payne explores our compulsion to distinguish basic human actions into right and wrong.
My work reveals shared societal codes of living, inherently stuck in a state of erotic irony. It explores how art prevails over the judicatory system that society cannot seem to escape, considering art’s role and place in an ethical context with regards to western society. The work is fuelled by the ambiguity between the relationship of the artwork and the reception of it. The perception of an artwork is open to interpretation; the encounter and interpretive activity could be dependable upon social influences. R. Burnett states in Inside the Virtual Human, “…images form as well as deform in a circular fashion within and outside of bodies, marking us in a variety of ways which are sometimes predictable and often times, not.” Entangling us between the real and the improvised, the internal desire to satisfy the need for pleasure and enjoyment with the imitated set of beliefs of community responsibility. Through installation and performance I have used questionable subject matter as an exploration into the extent of how ethical codes and moral beliefs impact the way we might instinctively perceive controversial content in art.
In a reaction to the stale prudence amongst our society my work mocks the ludicrousness of our shared compulsions to distinguish motherly actions, such as breast-feeding, into right and wrong, acceptable and deviant, normal and abnormal classifications.
‘Fountain’ reveals and collides realities in order to reject the performance and perfection bestowed upon men and women on how to behave. ‘Fountain’ is an opportunity to expand the self and self-reflect; amongst its rubbery teats, tits and piglets, suckling women, phallic roses, clanging cow bells and elegant night gowns, the pulsating milk duct forms as a modern day replica of a traditional landmark. The circularity of the fountain creates a pinnacle in the public sphere, a moral compass, a community centre point; it offers a rehabilitation of thought. The scale and audacity of the piece mimics the fountain as a natural sight of engagement for public interaction,
Coated in a sickly mass of flesh coloured silicone the artificial nature of the sexual boob is reproduced, these accessories and the pantomime mode of performance draw on the ironic stance of the theatricality of societal existence; this gaudy spectacle mocks the strangeness of our reality and our oppression to our innate desires and satisfactions.