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Fertility, Futility Painting
United States
Painting, Watercolor on Paper
Size: 24 W x 18 H x 1 D in
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About The Artwork
This painting is full of symbolism, most of which I hesitate to put into words for fear of acknowledging the truth, but it reflects the sorrows of a woman, whose value in society is determined by her fertility. While men can be fertile well into old age, it is not the same for women, and that discrimination happens as early as early thirties. How can a woman's desirability be solely based on her potential to procreate and how unfair is it that age is used to deny a woman's eligibility even before knowing who she is as a person? The demeaning experience of being in the marriage market as a Korean woman is paired with the irony of having to reject men whose age may not be a deterrent, but whose character is deemed unfit for procreation. A woman is a lotus flower, and it is only a matter of time before she becomes but dead seeds in a pod, while men are free to choose among younger flowers. Wishing upon the moon, a symbol of fertility, while collecting tears in a moonjar, which is supposed to symbolize hope and good fortune.
Details & Dimensions
Painting:Watercolor on Paper
Original:One-of-a-kind Artwork
Size:24 W x 18 H x 1 D in
Frame:Not Framed
Ready to Hang:No
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
Yvette is a self-taught artist from South Korea, drawing inspiration from her rich multicultural background. Much of her work is characterized by bold colors and black outlines, reflecting influence form both Western and Eastern art. She signs her her work with the pseudonym "kiru" (lower case intended) in her artistic work, following ancient tradition of Northeast Asian artists, who had a two-syllable nickname to represent their artistic identity. Yvette began publicly exhibiting her work in 2009. Most of her work is privately owned and not available for public viewing except for her portrait of Harvard Law Professor Charles Nesson, which is housed at the Berkman Center for Internet and Society at Harvard University. When not painting, Yvette studies new media, focusing on prosocial outcomes of social media.
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