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dc.contributor.authorHawker, Rosemary
dc.contributor.editorAnna Davis; Michael Wall
dc.description.abstractFor more than four decades, Jenny Watson has deliberately placed the figure of the artist at the centre of her work. We might think of this figure - a girl-woman with long red hair, big eyes and thin legs, wearing a frock - as a generic female, or perhaps as an Alice? But it is Jenny, surely? These highly narrativised paintings present such a personal, subjective and often confessional voice that it is impossible to distance their subject from the artist This is made all the more difficult by the apparently interior dialogue of the girl-­woman, writ large and loud within the bounds of the figurative painting and on accompanying text panels, and the first-person narrative it tells, This may seem to simply be a case of the artist-author representing her lived experience for an audience. But, as much as this works with a candid spontaneity of address, the autobiographical positioning of Watson's works is anything but straightforward We cannot identify these issues of autobiography in Watson's painting without also remembering that her work has always been positioned as conceptual art and that she has a troubled faith in the immediacy of representation, In many ways, the relationship between the subject of Watson's paintings and their artist-maker is the point where the complexity of the works is emphatically underscored.
dc.publisherMuseum of Contemporary Art
dc.relation.ispartofbooktitleJenny Watson: The Fabric of Fantasy
dc.subject.fieldofresearchArt History
dc.titleJenny Watson Declares
dc.typeBook chapter
dc.type.descriptionB2 - Chapters (Other)
dc.type.codeB - Book Chapters
gro.facultyArts, Education & Law Group, Queensland College of Art
gro.hasfulltextNo Full Text
gro.griffith.authorHawker, Rosemary L.

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