Mira Dancy, ‘Double Undressed’, 2015, Phillips

From the Catalogue:
Double Undressed by Mira Dancy portrays a reclining female figure, posing in front of her mirrored reflection. Executed in 2015, the present image exemplifies the artist’s devoted attention to the female nude with an ‘apparent goal in reclaiming the female body by borrowing from male artists - Ernst Ludwig Kirchner, Matisse and William N. Copley - is smart and full of possibilities’ (Roberta Smith, ‘Review: Mira Dancy’s ‘Yes’’, New York Times, 25th June, 2015). Albeit evocative of the effortless, sinuous brushstrokes achieved by Edvard Munch a century earlier, Double Undressed is dominated by a firm feminist stance. The work directly defies the traditional portrayal of women by male artists throughout history as described by art historian John Berger. Berger famously explained: ‘The mirror was often used as a symbol of the vanity of woman. The moralizing, however, was mostly hypocritical. You painted a naked woman because you enjoyed looking at her, put a mirror in her hand and you called the painting Vanity, thus morally condemning the woman whose nakedness you had depicted for you own pleasure’ (John Berger, Ways of Seeing, London, 1972). Dancy successfully regains control of the female nude in contemporary painting, imbuing her figures with an overarching sense of strength, independence and feminine power.
Courtesy of Phillips

Signature: signed and dated 'MIRA DANCY 2015' on the overlap

Paris, Galerie Éric Hussenot, Mira Dancy, Want Position // Red, 5 September - 14 October 2015

Galerie Éric Hussenot, Paris
Private Collection, London

About Mira Dancy

Taking a feminist approach, Mira Dancy makes powerful, expressive works centered on the female nude. She works primarily on canvas, but has also branched out into wall painting, neon light pieces, projected images, and even shower curtains. Her interest in painting traces back to college, where Dancy was introduced to the medium in classes taught by Amy Sillman and Elizabeth Murray, whose own art and feminist ethos laid the ground for her vision. Dancy often works on a large-scale, filling her canvases with expansive nudes rendered in a vibrant array of colors and with calligraphic, sweeping, sinuous lines. Unlike the women who appear in paintings (often done by men) throughout art history, her nudes are imbued with a sense of strength and self-possession, in addition to a knowingly exaggerated sex appeal.

American, b. 1979, Newcastle Upon Tyne, United Kingdom, based in New York, NY