Derived from the Greek word patriarkhes, PATRIARCHY means “rule of the fathers”
(Omvedt 2012)……
More than just tradition, patriarchy is an invisible power hierarchy that dictates how men and women should behave by placing some men over others and all men over women. Feminist thinkers like bell hooks have shown how white women are often valued more than black women in patriarchal systems (Hooks 2015).
Patriarchy harms both genders. Judy Chu (Chu & Gillian 2014) observed that boys from the age of five to seven, learn to hide emotions to fit in, while girls, upon reaching adolescence, are pressured to remain silent. Both genders fear rejection if they do not conform, leading men to disconnect emotionally and women to suppress their voices (Gillian & Snider 2018).
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Political figures exemplify the persistence of patriarchy. Donald Trump and Jacob have used power to silence women and evade accountability for misconduct, revealing how patriarchy shields powerful men from consequences (C.Gaffey 2019). I argue that, as Trump runs for president again, patriarchy remains a global issue. Through my work, I aim to challenge the silence that allows the patriarchy to thrive. My portraits of women represent diverse cultures, illustrating the shared experiences of living under patriarchy. At first, I wanted to focus on anonymous women but as my body of work evolved and especially when Rebecca Cheptege was set alight in “woman’s month” (August) by her life partner (CNN), I knew I had to draw the circle wider and include her and more famous women in my body of work.
In my own experience, patriarchy operates in the workplace through issues like the gender pay gap and male intimidation. Women are expected to remain nurturing, silent angels, even in professional settings—expectations rooted in patriarchal values (Gillian & Snider 2018).
Artistic inspiration
Jenny Saville’s large-scale portraits in unexpected colours had a seminal influence on my own practice. Her piece Prism (2020) features a layered composition of pastel shades and fiery tones, with hyper-realistic eyes contrasting with expressive brushstrokes. This piece is a juxtaposed composition of layered portraits where she started with charcoal and tones of red, she kept on adding layers organically. This process of layering speaks to my own praxis where I use multiple layers of printed tissue paper to create a new surface to work on and to add tonal values, texture and meaning to my portraits. To me, her work embodies the idea that “the eyes are the windows to the soul.”
Kilmany-Jo Liversage’s bold portraits, rendered in spray paint, markers, and acrylics, serve as a secondary influence for my own work. Drawing inspiration from social media, Liversage’s subjects are marked by piercing gazes that have become a signature element of her art. I aim to capture a similar intensity, one that compels a direct and powerful response from viewers. An outspoken activist against patriarchy, Liversage challenges traditional expectations of fine art through her use of street art-inspired media, much like she questions the societal norms we inhabit. Her work has motivated me to explore new,
Personal inspiration
Recently, I discovered an old photo album that belonged to my late mother, born in 1931 she was part of the silent generation. A qualified teacher, she traveled to Europe in 1960 with her best friend. The album, documenting their three-month journey, revealed some surprising and inspiring details. In many photos, she wore outfits that were uncharacteristic for South African women of her time—pants, shorts, and even a swimsuit. Her vibrant, joyful expression captivated me. It struck me that, despite this glimpse of independence, she had been silenced by the expectations placed on her to be a dutiful wife and mother.
Additionally, I found sewing patterns my mother used to make and sell dresses for an extra income. This discovery led me to explore the material constraints women faced under patriarchy. I recalled helping her pin the delicate paper patterns to fabric, a memory that inspired me to incorporate these materials into my work. Using the printed tissue paper from the patterns adds a personal and historical layer to my art, reflecting the way femininity has been shaped and restricted, with women often unable to fully exercise their talents, as only men were seen as rightful breadwinners.