Druick's paintings address issues of gender definition, self-identification and female objectification, using stylised figuration and saturated high-key colour. She emphasises and exaggerates stereotypical concepts of precision, perfection and beauty in femininity.
Her work can best be described as belonging to the style of the “New Surrealist Movement” using a new visual language to express the objectification of women’s bodies.
Her females are faceless archetypes, eliciting questions about identity, self-awareness and sentiment.The issues of willingness and consent are also addressed in her work.
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What themes do YOU WORK TO explore in YOUR work DEBORAH?
I’m really interested in exploring the issues of gender and female objectification in my paintings. I present my females as highly exaggerated, stylized figures leaning on the stereotypical notions that beauty in femininity is precise and perfect. I present women as ornaments, objects to be admired foremost for their beauty. I use a very graphic style in my work with details and patterning being very important aspects.
Can you describe your work in three words?
Surreal, Feminist, Graphic.
What does hair symbolize for YOU?
Hair is a very sensual, sexual part of the body. It’s a self-identifier -- how you style or wear your hair is your individual form of self- expression. Hair is an adornment that for me leads to embellishment and exaggeration in my work. The hair in my work almost becomes an entity of its own.
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What artists or movements have inspired YOU DEBORAH?
I love the Chicago Imagists. The Imagists were inspired by Surrealism, Outsider Art, Manga and graphic cartoon imagery which are all art forms that are inspirational to me. They were also great collectors of objects or visual paraphernalia that they responded to.
Is your work ever autobiographical?
Yes, my work is actually extremely autobiographical. Most of my paintings are of events or memories that have occurred in my life.
I was quiet and sensitive growing up and very alert to both visual and olfactory stimuli which still impress my present.
Could you tell us a little bit about your career path TO WHERE YOU ARE NOW?
After finishing my university art education I became a window dresser and then Creative Director for a retail company in Toronto and then Hong Kong. I remained in Hong Kong for ten years and had a solo painting show before moving to the United States. I acquired my present studio about five years ago. It’s been a convoluted path but I finally feel that I’m building a base of contacts here now in the art community. Instagram has worked in a big way to extend my reach to collectors and galleries all over the world. For younger artists out there, my advice would be to keep at it, daily diligent work at the studio will pay off.
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What is the biggest challenge of being an artist?
The biggest challenge to being a female artist is that we are often still somewhat overlooked. The art world follows trends of what is in at the moment, what is cool, so one has to be aware that there is always an ebb and flow but relevant work will always survive.
What are you working on right now?
Right now, I’m working on images using both the positive and negative space on the canvas. I also like portraying females as decorative containers standing beside actual vases or urns while using a balance of both flat and two-dimensional imagery.
Who are your favorite contemporary artists?
There are so many amazing artists around at the moment. A few that really stand out for me would be Gina Beavers @gina_beavers, Emily Mae Smith, @emaesmith, Deborah Roberts, @rdeborah191, and Ellen Weider, @ellenweider.
What one song should be added to the She Curates playlist?
Allison Miller’s Play Money from her album Parlour games. In fact the whole album is amazing if you like jazz.
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