Quality Art Waffle: My (fake) Artist Bio
For my birthday a friend wrote me this AMAZING academic style bio. (Academic yet humorous)
Naturally, this cannot fail to please even the most humble of egos. And my ego blossomed delightfully reading it.
I really can’t write my own: I don’t have the required academic wank in me to do it convincingly.
Besides that, my opinion is that all artist wank reads like insecurity. I always suspect that the writer feels the need to disguise real motive and agenda (or lack thereof) in a waffling wave of academic rubbish.
As part of a trade bargain for producing such academia for me the friend will get a portrait (click here).
Additionally as soon as said friend is done with their torturous PhD I’m going to convince her to write a piece of erotic fiction in a similar style of academic gibberish that I will then illustrate.
I don’t know who’d be interested in reading my fake artist bio but it must be posted! It’s quite excellent.
The Oevre of Janine Shroff – Click here to view PDF (or read text below)
The Oevre of Janine Shroff:
The Oeuvre of Janine Shroff
Dr. Anokhi Parikh
Born in a “small tin shack in Juhu”1 to artist parents and trained in the lesser-known
Jamnabai School of thought, Shroff is a minority artist of immeasurable talent. Her
adolescent experiences of being forcefully ensconced on the beach by the heterosexual
Hindu male body, the formative National Institute of Design rejection, as well as the
reductive educational milieu forced upon her in her school art class, have shaped her
Parsi-lesbian artistic practice.
Her work seeks to foreground what she calls the besharam. The formation of her own
subjectivity can be seen through the lense of the besharam – the drawing of nudes, sex and
animal-human hybrids, reify her “discomfort” with her own body. Through her ongoing
obsession with the alien persona of Tilda Swinton as well as her bird-people, she pushes
the boundaries of what is human, and what is animal. In that sense, her work can be
called autobiographical. Her illustrations explore the relationship between synaesthesia
and bodily cultures. With influences as diverse as E-News and This American Life, they
capture the new tensions distilled from both opaque and transparent discourses of pop
Shroff’s highly vivid work on the relationship between patriarchal transport practices and
the eroticization of the violent everyday is a masterpiece of enigmatic exactness. In the
Rape Rick (Figure 1.1), she shows how everyday forms of mobility intersect with
subjective paranoia transmitted along lines of kinship: i.e. from mother to daughter.
Through the garish colours and bodily objects, the work is a problematisation of the
relationship between the ideology of feminist protectionism and the expression of
sexualised corporeality. However, careful dissection of the relationship between the
“divisibility of communicative interaction and the systemization of the gaze suffers from
its artist’s almost complete ignorance of the Frankfurt school.”2 Her most incisive
critiques of gender and the performance of feminism can be read in her phantom journal
‘Habits and Hijabs’.
Figure 1.1: Rape Rick
1 Kale, A. 2014. Interview: Janine Shroff. Astray http://astray.in/interviews/janine-shroff
2 University of Chicago. 2014. http://writing-program.uchicago.edu/toys/randomsentence/
Janine occupies a particular kind of spatial habitus. Frequented by Lesbians and Leo, it is
a space within which she exerts cultural capital as well as symbolic power. It is a virtual
space, dominated by social media and a multitude of irreverent blogs, one where “crotch
shots” and “vagina posts” are uploaded with alarming alacrity. It is through the
production of this space, that Janine most firmly asserts herself and her politics. In this
space Shroff demonstrates her fundamental and violent opposition to the global problem
of the ‘culture of breeding’. This is further elaborated in her dystopian work, The Breeders
(Figure 1.2). Here, the juxtaposition of the industrial factory and domestic body, creates a
simulacra of body as a baby-producing machine and engenders disgust from the viewer.
It is precisely this heteronormative gaze that the piece challenges through a semiotic
rejection of the child-producing normative ideal.
Figure 1.2: The Breeders
Shroff’s work has been well received in both the mainstream and the fringes of the art
world. Scholars and critics have referred to her work as “’disturbing,” “arresting,”
“surrealistic and fantastic”. Her work can be found for viewing at
http://www.janineshroff.co.uk and for adornment at Kulture Shop, Bandra and Society 6.
Arty Bollocks generator, 2014. http://www.artybollocks.com/
Kale, A. 2014. Interview: Janine Shroff. Astray http://astray.in/interviews/janine-shroff
Shroff, J. 2013. http://www.janineshroff.co.uk
Shroff, J. 2016 (forthcoming). Habits and Hijabs.
Shroff J. 2014. Facebook Profile
University of Chicago. 2014. http://writing-program.uchicago.edu/toys/randomsentence/