‘Exquis’ is Eva Munday’s latest body of work exploring consumption of the female form in advertising. The images she pulls from magazines include heads, hands, arms, and legs, usually distinctly female. These severed limbs refer to the ‘exquisite corpses’ (or ‘cadavre exquis’ in French, ‘exquis’ alone meaning delicious) line of visual exploration rooted in surrealism, wherein contributors have limited knowledge of each proceeding addition to the collective work. The result is an aligned but impossible composition or figure, loosely rooted in reality as each artist’s work is rooted in the evidence of the details laid previously. So are the compositions of Munday’s appropriated portraits or still life set-ups – amalgamations of circulated imagery, creating new forms and new narratives.
By butchering and re-appropriating the advertising imagery in a raw, imperfect, and vaguely macabre style, she poses the questions, ‘What has capitalism done to the female form? Where does agency lie in the advertised female body?’ and ‘How does consumption of this prolific imagery inform and perpetuate consumption of that body?’
School of Arts & Humanities
MA Photography, 2019
+44 (0) 7478 076637
There are two narratives in every person’s life – an external narrative and an internal narrative. Correspondingly, there are two constructs of Self that deal with these veins of action: the external, or public Self, and the internal, or private Self. Eva Munday’s photography practice explores the ways we construct these versions of Self and how they are influenced by external and internal narratives.
Self and Otherness lie at the heart of this diametric existence. Munday’s practice centers around an examination of Otherness, particularly regarding its very formulation being contingent on the pre-existence of Self. She analyzes the Self / Other dichotomy in her dissertation, The Other In Self: A Semiological Discussion of Self, Other, And The Ocularcentrism of Nineteenth Century Photography, ultimately suggesting that the Other only ever exists within the Self.
Munday’s photographic work is an exploration of how the world we live in shapes our definition of Self, and in turn how our understanding of this multifaceted identity informs the way we view the world. Within her work, she strives to gain a better understanding of not only how the individual comprehends and expresses their Selves visually, but whether the visual language allows for a universal expression of human identity.
- BA English & Fine Art, Dartmouth College, 2016; CRT Copywriting, London College of Communication, 2019.; CRT User Experience Design, London College of Communication, 2019.
- Copywriter, Emblem, Seattle, 2017 - Present.; Artist, NARS Cosmetics, London, 2018 - Present.; Assistant, Copperfield Gallery, London, 2017 - 2018.; Photographer, Eric van Hove's 'Mahjouba,' 'Mahjouba II,' and 'Atchilihtallah,' Marrakech, Frankfurt, Ostend, 2016 - 2018.; Artist, Nordstrom Flagship, Seattle, 2017.; Photography Assistant, Keetja Allard, Paris, 2016.; Programming Intern, Hood Museum of Art, Hanover, 2016.; Curatorial Intern, Seattle Art Museum, Seattle, 2015.; Freelance Graphic Artist, The Huffington Post, 2015.
- 'Femininity,' Photography Project Space, London, 2019.; 'DISRUPT,' Subject Matter Art Ltd, London, 2018.; 'Woman as Warrior,' Zhou B Art Center, Chicago, 2017.; 'ATCHILIHTALLAH: On the Transformation of Things,' Frankfurter Kunstverein, Frankfurt, 2016.
- 'Metrics,' Poets and Artists, 'Anything But The Figure,' 2018.