Exploring Women and Mirrors in Western Art
Jesse Mockrin’s debut solo exhibition at James Cohan Gallery in New York, titled “Venus Effect,” explores the complex history of women depicted alongside mirrors in Western art. The “Venus Effect” refers to the human tendency to maintain beliefs inconsistent with reality, and Mockrin delves into this phenomenon through her enchanting reinterpretations of art historical references, spanning Rococo, Renaissance, and Baroque eras.
Originally focusing on historical depictions of women applying makeup, Mockrin shifted her attention to vanity and toilette scenes, drawing parallels between the act of applying makeup and the art of painting itself. Her compositions reference various cultural and historical contexts, including depictions of Venus, lust personifications, and Biblical stories like Susanna and Bathsheba.
Mockrin challenges the notion that these paintings are merely about female vanity or the moment women recognize their sexual power. Instead, she argues that they emphasize gratification and seduction, drawing viewers into the artwork’s allure.
In “Venus Effect,” Mockrin explores new compositional territory, incorporating light and sumptuous interiors into her works. She experiments with perspectives, colors, and lighting to create a sense of depth and ambiance. Her figures exhibit an almost Mannerist equilibrium between feminine and masculine beauty, challenging traditional notions of gender and beauty.
The mirror, a recurring motif in her art, serves as a metaphor for how meaning is projected onto the female body, both in art and the real world. Her work engages with contemporary issues, as seen in her drawings of women crying in response to the overturning of Roe v. Wade.
Through her reinterpretations of familiar imagery, Jesse Mockrin invites viewers to reconsider history from the perspective of the present moment, shedding light on the complexities of perception and desire.
Re-reported from the article originally published in The Artnet News
