This painting depicts a figure forming a heart-shape with red painted fingernails while standing on top of a windy hill with their pants unbuttoned. This painting was inspired by Britney Spears’ song “Perfect Lover"—as well as the artist's arousal while experiencing a fever.
Partida's paintings feature centralized figures that explore the artist's original idea of the “Fag Fatale”—an effeminate man that brings the world to its knees. This composition is part of a body of work by the artist that draws influence from Carol Ockman’s 1995 text Ingres’s Eroticized Bodies. The text details how the 19th century French painter Ingres used a serpentine line to shift the representation of the heroic male in art—creating an "other", a homoerotic sensualized male nude, in gendered visual language. Ingres transposed lines and proportions previously associated with the mythological figure of Venus, the goddess of love, to create male subjects that were heroic figures of desire. Partida employs that same visual language to create exalted alter egos—performative avatars that obscure both the artist and the subject of the composition. The resulting works challenge conventionally by creating novel power structures.
Ricardo Partida’s work challenges conventional power structures through the creation of exalted alter egos—performative avatars that obscure the artist and the subject. The artist’s paintings frequently explore what the artist terms a “Fag Fatale,” an effeminate man that brings the world to its knees. Partida’s work examines art history and its representation of male desire, particularly gendered visual language and its relationship to the homoerotic gaze.
This painting depicts a figure forming a heart-shape with red painted fingernails while standing on top of a windy hill with their pants unbuttoned. The artist employs a similar visual language to the French painter Ingres to create exalted alter egos—performative avatars that obscure both the artist and the subject of the composition.More