Laurelle Suzzanah Michael
Fine Art
My approach to the creative process is resolute, I work diligently to achieve my vision and appreciate the lessons that failures teach.
Final year project
The Femina Stills
The Vampire #2
The Vampire is gloriously uninhibited, destructively lustful, and hideously feminine. She resides in a place beyond acceptance, driven by the bloody desires of her body and her sexuality. In these images, an equivalence is struck between femininity and monstrosity; reflecting the cultural revulsion that surrounds undisciplined women and their bleeding bodies.
The Girl #4
The Girl was constructed as a critique of the acceptance and eroticisation of gendered sexual violence within visual culture. These images confront viewers with the fixation on victimisation in genre entertainment and pornography; highlighting a disturbing process of commodifying feminine suffering which seeps into reality.
The Automaton #6
Drawing from representations of female-coded AI and robots, The Automaton embodies a futuristic, yet ultimately antiquated, longing for feminine subservience and the ideal woman. She is the love machine, the manufactured girl-of-your-dreams, and the divine harbinger of exacerbated patriarchal ideologies in technologically advancing societies.
The Gorgon #3
The Gorgon is a critique of the cultural construction that depicts women as corrupted by knowledge, autonomy, and a loss of innocence. I draw from historical depictions, such as the Grecian Medusa and the Christian Eve, along with their symbolic association with the snake. In these images, The Gorgon is punished and ostracised for her sharpness and sensuality; transforming her into a grotesque, serpentine being.
The Vampire #6
The Vampire is gloriously uninhibited, destructively lustful, and hideously feminine. She resides in a place beyond acceptance, driven by the bloody desires of her body and her sexuality. In these images, an equivalence is struck between femininity and monstrosity; reflecting the cultural revulsion that surrounds undisciplined women and their bleeding bodies.
The Girl #6
The Girl was constructed as a critique of the acceptance and eroticisation of gendered sexual violence within visual culture. These images confront viewers with the fixation on victimisation in genre entertainment and pornography; highlighting a disturbing process of commodifying feminine suffering which seeps into reality.
The Automaton #4
Drawing from representations of female-coded AI and robots, The Automaton embodies a futuristic, yet ultimately antiquated, longing for feminine subservience and the ideal woman. She is the love machine, the manufactured girl-of-your-dreams, and the divine harbinger of exacerbated patriarchal ideologies in technologically advancing societies.
The Gorgon #6
The Gorgon is a critique of the cultural construction that depicts women as corrupted by knowledge, autonomy, and a loss of innocence. I draw from historical depictions, such as the Grecian Medusa and the Christian Eve, along with their symbolic association with the snake. In these images, The Gorgon is punished and ostracised for her sharpness and sensuality; transforming her into a grotesque, serpentine being.
Laurelle Suzzanah Michael
Final year project
The Femina Stills