JAIMY GAIL
JAIMY GAIL // Vrouw Zijn (On Being a Woman) (2021-ongoing) questions the position of women in a world where men set and control standards. The female nude is a beloved and timeless subject in art, which for a long time was monopolized by the male artist and was thus shaped by his vision of the female body. Vrouw Zijn fit within contemporary movements of women (re)claiming ownership of their bodies, including in the arts. The individual women nude pose in a domestic setting: a nod to the domain that patriarchal societies have long assigned to females (and continue to do so). Unlike many art-historical female depictions, the women I portray do not pose shyly or defiantly but proudly and indifferently; they dare to take up space and look directly into the lens, at the viewer. The social construct in which women form their identity sometimes differs enormously among those portrayed. What connects the women in the photos with each other and with myself is womanhood and the forming of identity within socially imposed frameworks that come with it. Vrouw-zijn contributes to a (female-led) pictorial tradition of women as mystique and magnificent beings.
What is your favorite part of the series?
My favorite part of the series is its universal concept, allowing me to portray women worldwide while incorporating specific elements from each region or country. The clear concept is the foundation, but the interpretation and execution are influenced by the unique characteristics of the region or country I find myself. It allows it to evolve uniquely in each location, making the series both structured and adaptable at the same time. This universality coupled with the ability to explore the intricacies of different regions and the diverse women I meet makes my project particularly meaningful and engaging for me. In my work I want to showcase women as divine beings, challenging traditional notions of femininity and elevating their status to a higher level. With Vrouw-zijn I’m able to do that anywhere at any time. I like to travel alone, it’s exciting and challenging but it’s also a comfortable feeling to know that there are inspiring women everywhere and that they are willing to collaborate with me. I feel a true connection with all the women I portray, it’s a magical feeling.
In this process of reclamation, how do you go about finding the women that you feel embody the idea you’d like to portray?
I find that more frequently, it’s the other way around; I meet a woman and she already personifies an idea and then I work with that. It’s like solving a puzzle—I can’t quite articulate it, but every piece of the puzzle needs to fit. The colors, lines, shapes and pose all need to align seamlessly. It’s about everything coming together harmoniously, like a unified whole.
I think a great thing about this series is that while there’s a clear concept, the way to get that point across comes in an endless examples. How important are the domestic spaces that these women inhabit in expressing the tone of the photos
There’s no single most important element; every element to me truly are all all the most important. When I’m producing a new portrait and for some reason one element isn’t available anymore, it feels like the entire idea falls apart. The cohesion, the feeling of correctness needs to be correct within the preparation/production faze.
The portraits all look very effortlessly which in fact isn’t true at all, every detail or element is deliberate, has a meaning. It actually takes a lot of time and effort to look that effortless. During the production phase, I put a lot of effort into preparation to ensure everything feels correct. However, once I arrive on location and the model walks in, I let go of all that meticulous planning. I work with all the preparations I’ve made, knowing all the details, but I also try to incorporate everything I couldn’t foresee and rely on my intuition. I notice that if I cling too tightly to my preparations, I miss the unexpected moments that often make the image.
What is the best memory you have so far from making the photos?
Each portrait holds significant meaning for me, so it’s difficult to pick out just one. However, what I love every time I make a portrait is when all the elements come to life. As I mentioned earlier, I invest a lot of time in integrating these elements, striving for that moment when everything falls into place. Of course this is all in my head or I made some drawings but it’s still merely a feeling.
So when I pick up the model in this foreign country, we drive together to the location (that I’ve only seen on a screen or photo), when we arrive and I transform the setting, and then what happens when the model steps into this ‘set’ is truly remarkable.
In connecting with all of these women, what have you learned about yourself in the process?
I have discovered how strong the common bond of womanhood is, regardless of cultural or geographical differences. These connections have helped me gain deeper insight into my own femininity.
Where’ the farthest from home you’ve traveled for the series?
Southern India
Was there a specific moment that was the catalyst in starting the series, did you see or witnessed anything that brought you to this conclusion?
My first series called Normaal Doen from back in 2017. This was the first time I started photographing on locations and asked neighbors or relatives if I could photograph them in these locations. These were often living rooms I again found via relatives, neighbors but also hotel rooms or community centers. I spend hours and hours finding these locations and searching for the right styling and then ask people to pose in pretty disturbing ways for me. I loved that I was in full control, I did everything myself and it was a puzzle.
Who do you look up to?
My sister
Words to live by?
Be patient
Be kind
