Painting & Drawing
Frannie Martin (American, b. 1999) is a visual artist that interacts with themes like touch, relationships, and the body through a feminist lens. Having researched collage traditional figurative drawing, Martin explores digital collage as an extension of her practice, implements painting language into the digital process, and investigates the visualization of sensitivity that comes along with politicized subjects like motherhood, femininity, and sexuality.
In her current body of work Ethical Consumption that will be featured in the 2022 BFA Senior Thesis Exhibition, she continues pushing the appropriative nature of collage when reclaiming sexist found images and combining them with violent, bodily imagery to challenge expectations of women. After obtaining her BFA in Painting and Drawing from the University of Tennessee at Chattanooga, Martin plans to continue studying the visual arts at the graduate level.
Images from Ethical Consumption, 2021-ongoing
In my current body of work, Ethical Consumption, I have emphasized this idea of the procreative and sexual body, focusing on imagery relating to the visceral, violent existence of human interaction through an exhausted feminine as well as painterly lens. The act of collage is inherently violent through its subversive abilities. I chose to manipulate the found imagery to speak in a transformed display in the digital space. I engage with materiality of the original images’ sources and use the existing visual language like I would use ready-made paint on a palette.
Ironically, I find comfort and humor within the appropriative act of collage, but I also find power in claiming agency over sexist imagery and recontextualizing a misogynistic advertisement into an artwork. Ethical Consumption responds to the many ways we as viewers/consumers regularly view harmful depictions of women and condition ourselves not to question the phenomenon. In these digital collages, I challenge the viewer and confront the issues with jarring combinations of images. I identify as a figurative artist, and I feel that when approaching the body from all angles with careful consideration of the capitalist status women’s bodies hold in visual culture, I am able to shed a new light onto a long-held conversation in feminist discourse.