A Passionate Activist, 2024, acrylic on canvas, 80 x 64 x 5 cm
In feminist theory, the “male gaze” refers to depicting women in visual arts and literature from a male perspective, presenting women as sexual objects for the pleasure of the heterosexual male viewer. The male gaze on the female body is instinctive and compelling: the man watches, and the woman is watched. Harita Asumani’s new exhibition, “Good Boys,” reverses these roles. The female artist observes and paints from her memories the men who have left an imprint on her life. These works are based on real individuals, portraying men who have romantically, enchantingly, and erotically impacted the artist.
Harita is unafraid to explore sexuality in her work. Sexual freedom and feminism are central themes, seamlessly blending with her signature use of pink. Whether presenting herself nude in challenging poses or depicting intimate scenes with her partner, Haritha addresses these themes with comfort and confidence.
In “Good Boys,” Harita creates doubles of these men, even if she has only exchanged a word with them. She captures their most appealing qualities, painting these strangers and their fictional worlds through a pink prism. The curator also becomes a subject, appearing as one of the portraits, creating a reflective interplay of perspectives. These men are observed, painted, and involved in the process, viewed through the exhibition’s thematic lens.
Harita describes her process: “We’ve only caught up with some of them a few times. During this time, an energy-information exchange has occurred. This chaotic information has lingered in my subconscious long after our last meeting. When my mind conjures their image, I piece together what is available, adding the necessary bright colors. In my imagination, these men are ‘good boys.”
In her recollection of these men, Harita conveys the sensual sensation evoked by the “measuring with the gaze.” This exchange of glances inverts the roles of object and observer. Harita’s distance from the real individuals preserves her romanticized notions of them.
Simeon Vasilev
