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创作者 gerryparke
创作者 gerryparke
“Masculinity is not just an idea in the head, or a personal identity. It is also extended in the world, merged in organised social relations.” *1
As a learned social phenomenon, it is of great consequence, as it holds strong influential implications in the construction, and reinforcement of, heteronormative ideals of gender in a patriarchal society. This is termed Hegemonic Masculinity, a practice that legitimises mens’ dominant position in society and justifies the subordination of women, and other marginalised ways of being a man. *2
Ambivalence towards the other is derived from the continued strength of male culture; being “one of the boys”. Yet many men are forced to form a behaviour they may not actually enjoy. *3
- Raewyn Connell, "Masculinities". 2005.
- Keith Moore, "Performance, Masculinity, And Conformation: How Males Learn Manliness". 2012.
- Jock Philips, "A Man's Country? The Image Of The Pakeha Male: A History Revised Edition". 1996.
Digital versions of physical paintings from the solo "A History of Violence" Exhibition in Tamaki Makaurau, Aotearoa - Nov 2021
NFTs originally offered in conjunction with the physical paintings. Held for six months from the opening night for any buyers of original paintings, after which they will be made publicly available for purchase separately.
My practice addresses how and why men behave. Some works are based on images that document moments in my own personal history, serving to unpack my own experiences and examine how I, and those around me, learnt and then propagated ideas of masculinity. Other images are based on open source imagery that capture men enacting, often unconsciously, recognisable manifestations, or the "Collective Practice" of masculinity. The resulting compositions highlight the rhythms that occur between the figures, focusing on the ritualised relationships in which acceptable masculinity is sustained, often referred to as the Performance of Masculinity.
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Biff Wham Neon
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创作者 gerryparke
创作者 gerryparke
“Masculinity is not just an idea in the head, or a personal identity. It is also extended in the world, merged in organised social relations.” *1
As a learned social phenomenon, it is of great consequence, as it holds strong influential implications in the construction, and reinforcement of, heteronormative ideals of gender in a patriarchal society. This is termed Hegemonic Masculinity, a practice that legitimises mens’ dominant position in society and justifies the subordination of women, and other marginalised ways of being a man. *2
Ambivalence towards the other is derived from the continued strength of male culture; being “one of the boys”. Yet many men are forced to form a behaviour they may not actually enjoy. *3
- Raewyn Connell, "Masculinities". 2005.
- Keith Moore, "Performance, Masculinity, And Conformation: How Males Learn Manliness". 2012.
- Jock Philips, "A Man's Country? The Image Of The Pakeha Male: A History Revised Edition". 1996.
Digital versions of physical paintings from the solo "A History of Violence" Exhibition in Tamaki Makaurau, Aotearoa - Nov 2021
NFTs originally offered in conjunction with the physical paintings. Held for six months from the opening night for any buyers of original paintings, after which they will be made publicly available for purchase separately.
My practice addresses how and why men behave. Some works are based on images that document moments in my own personal history, serving to unpack my own experiences and examine how I, and those around me, learnt and then propagated ideas of masculinity. Other images are based on open source imagery that capture men enacting, often unconsciously, recognisable manifestations, or the "Collective Practice" of masculinity. The resulting compositions highlight the rhythms that occur between the figures, focusing on the ritualised relationships in which acceptable masculinity is sustained, often referred to as the Performance of Masculinity.
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