explores the objectification of young women and society’s conflicting attitudes towards it.
The series focuses on teenage girls and young women still navigating identity formation, who are simultaneously idolized as societal beauty standards. It prompts viewers to reflect on these women’s autonomy, the emotional toll they endure, and the complexities of objectification, raising questions about whether it can ever be self-determined.
Mikael van Lichtberg also addresses young women working as models in fashion, photography, and media, where they often face intensified pressures of objectification.
PAID DISCOMFORT accuses the viewer, who represents society, of being a voyeur and collaborator in the objectification of young women. Each artwork in the series consists of three art pieces.
First Image
Subject: A young woman looking directly into the camera with a neutral expression, dressed in everyday clothing, standing in a modern hotel room.
Message: This image establishes a relatable baseline. Her direct gaze suggests confrontation or a demand for recognition, urging viewers to engage with her as an individual. The hotel room setting conveys a sense of anonymity.
Second Image
Subject: The same young woman stands before the camera, her gaze once again fixed on the lens, but this time, she is without her pants, exposing her bare legs, feet, and underwear. The once-neutral expression has faded; her eyes now seem hollow, reflecting a sense of vulnerability or resignation.
Message: This image highlights the unsettling shift from personal comfort to vulnerability. Her exposed body and lifeless gaze reflect the emotional toll of being reduced to an object, emphasizing the discomfort of being viewed through a voyeuristic lens. The contrast between her earlier confidence and the current state of exposure deepens the sense of objectification, leaving the viewer to question their role in this dynamic.
Connector
Subject: The pair of jeans from the first image, folded and displayed.
Message: The jeans transcend the confines of photography; they are the original pair worn by the young woman, framed akin to a keepsake or trophy. By framing the jeans, the artist reduces the model to her appearance, emphasizing her legs and hips, rather than acknowledging her full humanity.
shown above: the presentation within a gallery, photos & object
The Narrative
What happened between picture 1 & 2?
Between the first and second images, the female model undergoes a shift from comfort to discomfort, vulnerability, or potential objectification. Initially neutral and confident in her everyday clothes, being asked by the male photographer to remove her jeans and shoes may have left her feeling exposed, judged, or pressured, as seen in her eyes in the second image. This change reflects the emotional and psychological impact of being pushed beyond her comfort zone, highlighting the power dynamics between her and the viewer.
Empowerment and Critique: The Artist’s Role
The artist plays an integral role in PAID DISCOMFORT, actively shaping the scenes and ensuring that models, who are of legal age and fully cognizant of the project’s message, are empowered participants.
The carefully curated settings and deliberate compositions challenge viewers to confront their roles as spectators and participants in societal narratives of objectification. The series not only explores the complex dynamics of beauty standards and autonomy but also critiques the artist’s own involvement in portraying and possibly perpetuating these constructs.
Inspired by the photography styles and authenticity of Rineke Dijkstra; Cindy Sherman “Untitled Film Stills”, Tracey Emin “Everyone I Have Ever Slept With 1963–1995”.
Second Image
Subject: The same young woman stands before the camera, her gaze once again fixed on the lens, but this time, she is without her pants, exposing her bare legs, feet, and underwear. The once-neutral expression has faded; her eyes now seem hollow, reflecting a sense of vulnerability or resignation.
Message: This image highlights the unsettling shift from personal comfort to vulnerability. Her exposed body and lifeless gaze reflect the emotional toll of being reduced to an object, emphasizing the discomfort of being viewed through a voyeuristic lens. The contrast between her earlier confidence and the current state of exposure deepens the sense of objectification, leaving the viewer to question their role in this dynamic.
First Image
Subject: A young woman looking directly into the camera with a neutral expression, dressed in everyday clothing, standing in a modern hotel room.
Message: This image establishes a relatable baseline. Her direct gaze suggests confrontation or a demand for recognition, urging viewers to engage with her as an individual. The hotel room setting conveys a sense of anonymity.
Connector
Subject: The pair of jeans from the first image, folded and displayed.
Message: The jeans transcend the confines of photography; they are the original pair worn by the young woman, framed akin to a keepsake or trophy. By framing the jeans, the artist reduces the model to her appearance, emphasizing her legs and hips, rather than acknowledging her full humanity.
The Narrative
What happened between picture 1 & 2?
Between the first and second images, the female model undergoes a shift from comfort to discomfort, vulnerability, or potential objectification. Initially neutral and confident in her everyday clothes, being asked by the male photographer to remove her jeans and shoes may have left her feeling exposed, judged, or pressured, as seen in her eyes in the second image. This change reflects the emotional and psychological impact of being pushed beyond her comfort zone, highlighting the power dynamics between her and the viewer.
Empowerment and Critique: The Artist’s Role
The artist plays an integral role in PAID DISCOMFORT, actively shaping the scenes and ensuring that models, who are of legal age and fully cognizant of the project’s message, are empowered participants.
The carefully curated settings and deliberate compositions challenge viewers to confront their roles as spectators and participants in societal narratives of objectification. The series not only explores the complex dynamics of beauty standards and autonomy but also critiques the artist’s own involvement in portraying and possibly perpetuating these constructs.
Inspired by the photography styles and authenticity of Rineke Dijkstra; Cindy Sherman “Untitled Film Stills”, Tracey Emin “Everyone I Have Ever Slept With 1963–1995”.
