Shannon Murray was born October 19, 1990 in Islington, St. Mary. She earned a Bachelor's degree in Art Education from the Edna Manley College of Visual and Performance Arts. In addition to painting, she creates crochet clothing and designs carnival costumes for the Jamaican carnival season. Shannon teaches visual art and design at the St George's college.

Ms. Murray current practice focuses on Black women’s bodies, nudes and especially parts of it. The works are in your face, close-up views of the derrière or “batty”, as they say in Jamaica. Her work interrogates themes of the objectification of Jamaican women and fixed, rigid sexual roles they are expected play in a conservative, male dominated, sexually repressive, misogynistic society.

Art Hedge invited Richard Nattoo, “Painter of Emotions…” to critique Murray’s work.

Nattoo writes:

“Shannon ‘s work is unapologetic. She puts forward the hard questions that most Jamaicans are afraid to ask because of the conservative society they live in. What I enjoy about her work is the boldness of how the question is translated into the execution of the work. Bold images, bold strokes and unapologetic strokes of color to add to the conversation of a vivid narrative.”

White Torso

SM: This position gives some muscular effect in the glutes. I wanted to see if the same desirable effect would be achieved if I used anything but actual skin tones. I also wanted to show some strength and power, so lines were stronger in some areas but a hint of softness with the thinner coloured lines.”

The background was also a play on strength and power (power of the effect this part of the body has on its viewer). I also wanted a sense of depth with the dark background but having the colours stand out a bit with the brush strokes, as well as some thought into complimentary colours, as well.

Richard Nattoo:

“What I find interesting is how she doesn’t include the heads on the figures and the compositions are bold, and in your face; this I believe is a powerful conversation in this time where women are being liberal without apology”.

Purple, Self-portrait

SM: Like mystique in X-men, the purple is a play on changing characters; the sender and recipient are aware of this very private exchange but outside of this, other persons would have no idea. Background colours were intended to compliment the image but have some character on its own.

Up Close, Red Thong

SM: The colours are those mainly used by Rastafarians. Rastafarians think of women as 'Empress’, which hints at a sense of virtue and royalty. This cultural frame creates conflict, highlights a concern with the sender that even though the reaction of the recipient is desirable, there is a question of your sense of virtue or decency as society would see it. What decent girl would send such images to a man?

Richard Nattoo:

“What I find interesting is how she doesn’t include the heads on the figures and the compositions are bold, and in your face; this I believe is a powerful conversation in this time where women are being liberal without apology. I love it. This narrative is even appended to with the release of a recent song called WAP (by Cardi B – WAP feat. Megan “Thee Stallion”). The conversations surrounding this song are the women feeling empowered by this sexual liberation, and some insecure men believe it is too liberal and women shouldn’t be so open about their sexuality.”

Black background

SM:

First in the series is Black background, also called Heavy, based on the song by a popular female dancehall artist. “Heavy” takes its inspiration from the type of poses and images that were seen as most desirable by those on social media. The thick ass or heavy ass is what they choose to post and those who do not have this desire it. But at the same time, they want to be respected or seen as descent.

Cardi B - WAP feat. Megan Thee Stallion , JADA KINGDOM, HEAVY

Richard Nattoo:

“Shannon adds to this narrative by putting these asses up and close, right in your face and ask the question, “can I still do this while being a “decent” member of society?” She tackles this idea of being desired and being accepted, and the hypocrisy of being desired in the dark, which comes through in “black background”. The honesty of her work is actually brought out 10-fold by how real these figures are painted. In Purple, I see where there are folds and love handles delicately rendered, which tackles the narrative of conventional beauty; what does society deem desired? It’s very refreshing to see this type of openness and freedom from this artist, and I love that she asks the hard questions and even more, I am very happy with how uncomfortable these images can make someone who is of a conservative nature. Shannon’s images will not leave you unmoved and I say that without apology”.

The Art Hedger.

Shannon Murray continues join the ranks of women who are challenging the perception and representation of Black woman’s body. She is proud of her body, derriere, batty and is claiming it. Black women’s backsides have been considered “grotesque” and something to be ashamed.

In “The ‘Batty’ Politic: Towards an Aesthetic of the Black Female Body” (Hypathia, Women, Art and Aesthetics, 2003), Janell Hobson writes:

“…Across the diaspora, black women often begin in girlhood to center their sexuality by performing with their backside…the African-American ring game, “Little Sally Walker”, where young girls are encouraged to “shake it to the east, shake it to the west,” or in the similar Afro-Caribbean “Brown Girl in the Ring,” who is urged to “show me your motion” these circles of black girls provide a female-centered space for affirmation and pleasure in their bodies…black women find their bodies subject to misinterpretation and mislabeling in by the dominant culture…We may need to recreate that circle of women—first enacted in childhood—who reaffirm that our bodies are fine, normal, capable, and beautiful. We may also need to enlarge that circle to include men, who can challenge their own objectifying gaze…” (https://www.mikemcguigan.com/uploads/4/4/2/6/44269247/black_female_body.pdf, accessed 9/13/2020)

Shannon’s work has a clear point of view.

As usually let’s start a conversation. Tell us what you think.

ARTHEDGE: 475-988-3479 artmuze@outlook.com

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