Christine Major’s recent paintings are a continuation of her feminist preoccupations concerning the construction of the female subject and her representation. The work takes into account the ambiguous position that women occupy in the history of painting––they are as much an object seen as a subject speaking.

The images the artist uses are drawn from the visual inundation that the media floods us with daily. However, she puts these images together in ways that distort their meanings and suggest new associations. Her choices are also a response to traditional painting motifs and make reference to painting history. Whether the images show the surface of Mars, floating microscopic molecules, a close-up of a woman T.V. announcer’s face or the surface of the canvas itself, the artist seems to make allusions to landscape, women and the notion of territory and its conquest.

Over the years, Christine Major has developed her own particular language and way of working. These paintings require no special viewpoint to look at them; however, the artist superimposes several images of varying scale in the same work and invites the viewer to discover them by approaching and stepping away from the paintings. The experience is both visual and physical combining a variety of gestures, characterized at times by a minuscule slowness and at others by a rapid, almost futile brushstroke. Major’s fluid and transparent application of the paint seeks to fix neither the image nor the subject, but rather to create a resonance, a transformation, a constantly evolving painting.