Sam Dawood British, b. 1995

This work references South African artist, Lady Skollie's work Objectify thyself before others do (2016). It represents the true story of Saartjie (Sara) Baartman, an enslaved person forcefully brought to Europe and exhibited in the nineteenth century Paris Salons. Colonial powers deemed her body ‘exotic’ to the white gaze, placing her on show in a degrading and dehumanising way. Visitors could touch her body for a fee and witness what writer Cady Lang, calls a, ‘sobering symbol of the exploitation and degradation Black women and their bodies have suffered for centuries.’ The portrait reclaims control and autonomy for the nude person. The viewer’s attention is drawn to the bookshelf behind the model where several vulva casts sit. These casts, although sculptural objects, are regularly removed and censored from online platforms limiting the users’ access to necessary education about vulva diversity. By highlighting the model’s experiences with censorship, this work aims to challenge the contradictory nature of sharing artwork featuring nudity online.