‘I’m often drawn to images of very beautiful women because they’re barriers; they have personal significance for me’, says Tasha Amini. ‘My work doesn’t celebrate femininity, but suggests an uneasiness about femininity and women that are really successful.’ Born in London, where she continues to live and work, Amini develops her paintings from photographs: some personal, some anonymous. Her subjects are filtered through muted palettes, and a frequently cropped, edited or obscured by patterning. In Untitled (2008), Amini presents a woman’s face concealed by an arrangement of flowers, which merge seamlessly with her features. Their fragile petals are rendered with thick brushstrokes and bold geometric lines, thus lending the composition a surreal ambiguity; the woman herself remains inscrutable.
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