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Freedom, desire, questioning and rebellion hidden under the skin

HER POWER Global Female Contemporary Art Online Exhibition 2021  · Chapter Twelve


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(Click to see their preface and forword)

2021 · HER POWER

The prologue of the "Life.Blossom” Exhibition - "Her Power" Online Exhibition, was jointly initiated by HK Art of Nature International Female Art Research Society, Art Life Foundation, and female artists and art institutions.


The first stage will bring the recommendations from our academic consultants, invited curators and  International Women Artists Federation as pilot. Up to now, we have received works from around 120 artists from more than 30 regions (including oil paintings, ink paintings, installations, sculptures, photography, digital images, etc.).


The call for works is still open to public. The online exhibition will also be published by region, theme, category, subject, or material.


The content of the online exhibition will be presented on Art of Nature’s official website and the platform of "Her Art", Facebook,  and overseas online platforms.


Art of Nature Intrenational Female Art Online Exhibition

 Orgainisors :

HK Art of Nature International Female Art Research Society, Art Life Foundation


Enlightenment · Freedom · Sensory World · Skin

Skeleton, River and Cave · To Watch and To Be watched · All Things Alive

Evelyn Bencicova

Evelyn Bencicova (b. Bratislava, 1992) is a visual creative specialising in photography and art direction. Informed by her background in fine art and new media studies (University for Applied Arts, Vienna), Bencicova’s practice combines academic research with an interest in contemporary culture to create a unique aesthetic space in which the conceptual meets the visual.


Evelyn’s work is never quite what first appears to be. Her photographs depict meticulously controlled compositions characterised by an aesthetic sterility, tinged with poetic undertones of timeless desire and longing. Evelyn constructs compelling narrative scenarios that blur the lines between reality, memory and imagination, “fictions based on truth”. Her disturbingly beautiful visual language set within curiously symbolic environments, allow for a deep exploration of the themes that take her works far beyond what they reveal at first glance.

While her career started with applied photography, since 2019 her practice shifted towards more immersive and experimental forms of story-telling, through collaborative projects using digital 3D techniques and virtual reality. She won prizes such as the Hasselblad Masters and the Berlin Masters in 2020.


Selected Exhibitions:


Asymptote, Slovak National Broadcast Gallery, Bratislava, Slovakia, 2016.


Merror, Fotografiska, Stockholm, Sweden, 2018.


Portrait Of An Anomaly, CE Contemporary Gallery, Milan, Italy, 2019.


Cure, Alison Milne Gallery, (Part of contact photography festival), Toronto, Canada, 2020


Artificial Tears, Slovak National Gallery, Bratislava, 2020


Work in Progress, Barbara Thumm Gallery -New viewings, Berlin, Germany, 2020.

Enlightenment | 60x85cm | c-print | 2018

"Sacred is often defined as a conjunction of worship and fear, it created value by its inaccessibility. It appears out of touch, distant and ethereal, carrying the taboo of isolated and unknown. And unknown can be easily misunderstood.


Enlightenment aims to challenge the paradigm of visual representation connected with faith. It represents my vision of purity and sanctitude deprived of accustomed dogma and fear of openness.

Without intention to scandalise I created a fictitious story of 3 sisters bond by belief, sharing life in companionship, enjoying innocence pleasures of existence.


Individual scenes represent actions forbidden to women belonging to nun-hood by religious orders as well as public opinion. These are mostly actions related to inter-human relation, joy and freedom of mind, actions which are by no means evil or opposed to someone’s devotion in its real sense.


Enlightenment is a reform of thinking and values, questioning the meaning of forbidden fruit.

Life is not a sin."

Notes on Hysteria | 80x60cm | c-print | 2019

"Hysteria, as attributed to women, is a history of negligence and pain. It is a history of male authority pitting a woman against her own mysterious and unruly body through religious, medical and psychological gazes.

Medicine was hijacked as a cult of misogyny not to cure, but to punish the patients and invalidate their experience because they dared to show discomfort.


The classic symptoms of hysteria strategically identified and oppressed women, diagnosing them as being ill for having such natural urges as sexual desire, apathy, passion and rage. Truly, it seemed as though courage and the basic desire to express were sinisterly commandeered as sickness, almost as if thinking itself would not be considered as belonging to feminine nature.


Cries of hysteria seemed to locate women who refused such traditional roles as quiet and obedient wives or mothers — those seeking a higher quality of life through the pursuit of education, respect and a voice within society —  and rather deemed them altogether abnormal, ultimately subjecting them to the systematic torture that ensued around historical diagnosis of hysteria."

Artificial Tears | VR experience | 2017

Artificial Tears focuses on the cultural notion of the male creator in opposition to the female machine, i.e. the story of submission through innocence, of striving for obedience and artificial perfection.


Whether we speak about Pygmalion and Galatea or Hoffman’s Olympia the narrative always circles around the creation of a model that satisfies the needs of a man, or as in the case of Metropolis, executes her creator’s commands.  Machines in general are not gendered by default. We shape them by setting their behaviour, voice or appearance. It is compelling to observe how many AI voice assistants end up being “female”. Is the notion of being more pleasant or trustworthy equated with sounding more servile just because a “woman” is speaking? 


As noted by Judith Butler, gender is performative. Even though these voices perform a certain range of femininity, this range is incredibly narrow.


Supported by the stereotype of the domestic worker, assistant or secretary, AI assistants are designed to receive orders and execute the action without questioning, in other words, they are providing services, and do not act as personalities. Siri’s or Alexa’s reactions are in the style of vintage femininity, trying not to be seen, noticed, or overly important. They respond to insults with politeness, avoid any verbal conflict, always at their own expense. Naturally, they are made to be spoken to in the imperative. “She” must always answer, and the answer must delight the asker. The “machine” that no longer serves has lost its purpose, but it may have actually just begun to find its own.


The main character in Artificial Tears takes on a classical female appearance, one that is based on the stereotype of perfection. It represents the woman designed (by others or herself) to satisfy a general predefined definition of herself. In the VR experience of Artificial Tears, the multi-layered character finally achieves autonomy by discovering her/its own free will and power to act..


Stacie Ant



Ant draws on her experiences as a female artist while developing the critical views of our technologically-saturated contemporary society that inform her work. Using video, installation, and performance, Ant reinvents elements of contemporary culture through fictional, maximalist narratives.

Stacie Ant’s character-driven work operates as a critique and rejection of the male gaze, enhanced by a modern culture of digital immersion. She harnesses the very digital tools offered in a technologically-dependent world as a means of empowering female identity and sexuality. Often humorous, Ant’s work offers a way of looking at a fast-paced digital realm through a lens of irony and satire.


Stacie Ant is a new media artist currently based in Berlin.


Selected Exhibitions:

June 2017 – Diamonds + Thunderbolts, Trinity Square Video in collaboration with Toronto Animated Image Society, Toronto

June 2018  – Personae, SomoS Art House, Berlin

October 2019 – Just a Small Introduction to G funk Era – Harlesden High Street Gallery, London UK

June 2020 – EDEN, Harlesden High Street and Underground Flower/Torre Alain (online)

October 2020 – Road Rally V.1.0 Group Exhibition @ BARCU Art Fair (online)

April 2021 – Pieces of Me, in partnership with and TRANSFER gallery (online)

Genesis | 40 x 50cm | Digital image

Keanu Love | 40 x50cm | Digital image

Aunt Ida | 40 x50cm | Digital image

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Angelyne | 40 x50cm | Digital image

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Only Adidas | 40 x 50cm | Digital image

Lisa Woelfel

The link between nature an human kind is a general interest of Lisa Woelfel. She is interested in picturing layers, feelings and realities that cannot be put into words.

To her a good picture has to be close to bursting without exploding completely. It has to produce a feeling of wanting more by bringing it to a point where literally the barrel is shortly before overflowing. It is allowed to be annoying, tickling, cuddly, even partly disgusting and striking. “If the picture satisfies, what my eyes are expecting to see and at the same time is able to surprise myself by looking at it again: it is done.”


Lisa was born in 1988 in Schweinfurt (Western-Germany). She studied Painting at the Akademie der Bildenden Künste in Nuremberg and lives now in Leipzig.

Important Exhibitions:

Art Award by the Staatliche Kunstsammlung Sachsen, Saxony (2019)


Denkzeit-Stipend der Kulturstiftung des Freistaats Sachsen, Saxony (2020)


Sommerstudio and scholarship, Aschersleben, Saxony-Anhalt (2020)


Junge Kunst in Leipzig, Leipzig (2019) (Groupexhibition)


Digital Change, Nuremberg (2018) (Soloexhibition)


Galerie im Saal, Eschenau (2016) (Soloexhibition)

Drift | 110 x 80 cm | ink and crayon on linen | 2020

MIDNIGHT SERVICE | 18 x 24 cm | ink on board | 2020

FLEDERBILD | 30 x 30 cm | ink on paper | 2020

Kräftemessen / comparing forces | 200 x 160 cm | ink and acrylics on canvas | 2020

Betüddeln VI

50 x 40 cm

charcoal on canvas on board



50x40 cm

ink and acrylics on canvas 


Geisterkatzen meines Lebens / ghost cats of my life

ink, crayon and oil on canvas
200 x 180 cm  


Rosana Machado Rodriguez

What makes me human? What defines me as a person?


I have a dark, difficult, arduous side, along with another virtuous part. Both sides coexist in permanent friction: duty or desire, solidarity or selfishness, personal enjoyment or the welfare of another. Although we expect our closest, personal relationships to be nurturing and protective, these deep bonds are also where we first learn suffering, manipulation and the exercise of power.


These individual and relational struggles create a tension, which concentrates in the body. Thus, I use the body in my work as a territory of further exploration of these concepts.


Vulnerability not only occurs at an intimate, domestic level but also at a social and economic one that exposes us to external demands. We are constantly encouraged to consume, even transforming our own bodies towards an ideal image. But it is not just an external demand. It also involves our desire. A careful look at these ambivalences and contradictions motivates my artistic research, which takes shape through different scales and media involving photography, ceramic, textile and installation.


Rosana is a Buenos Aires based visual artist whose work has an emphasis on human relationships and the fragility of human beings. She graduated magna cum laude at the University of Buenos Aires (BA 2013, MFA, 2015), she has a degree in Ceramic Art (2006), and also studied Anthropology and Visual Arts.

Although she currently works mainly in the field of photography and textile art, she is a multidisciplinary artist who uses the necessary materials to capture her ideas and feelings about the world around her.

Rosana also worked as an art teacher at Fine Art Schools in Argentina. Currently she codirects Routes of Art, an independent project of art training that intertwines art history with trips around the world.

Important Exhibitions:

2020 The interior. Pinta Miami. The Contemporary Art Modern Project. Online Miami, USA


2020 Feminism from South to North. The Contemporary Art Modern Project. Miami, USA


2020 International Pre-Biennial World Textile Art. Online Santiago, Chile.


2020 Responding to the Abundance. Spring Break Art Show. New York, USA.

Title: Prêt-à-porter (Installation)

Year: 2019

Size: 155 x 80 x 45 cm

Medium: Hanger rack, fabric, zipper, hanger, embroidery thread

Title: Repair

Year: 2018

Size: 12 x 20 cm

Medium: Fabric, fleece, sewing pins, box

Title: The proximity of the abyss II

Year: 2017

Size: 21 x 30 cm

Medium: Print on Enhanced Matte paper and print on sewing pattern paper

Title: Who loves you well will make you suffer

Year: 2018

Size: 21 x 40 cm (21 x 19 cm each)

Medium: Canvas, transfer, thread, gauze, embroidery hoop frame

Title: Fragile illusions

Year: 2018

Size: 150 x 130 x 120 cm

Medium: Dress, artificial flowers, tulle, embroidery threads

Title: When the planets line up

Year: 2018

Size: 20 x 27 cm

Medium: Digital photography printed on Enhanced Matte paper, embroidery thread

Lilith Becker

Lilith Becker is a performance artist. She likes to imagine a child sitting at their mother’s skeleton, looking for a place of attachment. She climb mountains and set fire to snow mans; she rides her raft playing music down the stream; or even suspend herself with a cast-iron harp of a concert grand piano, together, lowered 70 meters into a hole of a construction site..

Her artworks often contain herself, natural findings, skeletons and sounds or explosions. Her themes are transformations, and you can feel an existentialist approach in her work, as well as humor and reflection of the visitor.


Performance Artist.

Selected Exhibitions:


Lilith Becker zu Gast im Feld – solo exhibition, Das Feld, Bern, Switzerland, 2015.

Mother Mary Save The Hardcore – group exhibition, Casa Son Duno, Zorten, Switzerland, 2016.


Camp Festival, Performance and Video, Sofia, Bulgaria, 2017.

Nero Friktschn Feuerherdt, Music-Performance, Kino Rex, Bern, Switzerland, 2018.


In Dialogue – group exhibition, SCHMUCK (Munich, Germany), Gallery Riutta (Lappeenranta, Finland), Jewellery and Object Biennial (Melbourne, Australia), 2019.


Tatsächlich – group exhibition, AKKU Projektraum, Stuttgart, Germany, 2020.

Vehicle, dog skeleton, record player, text, 2017

The skeleton of the Dalmatian dog is like a little boat, swaying gently by the rotation of the turntable. The rough surface of the manipulated record is converted into acoustic noise by the pickup needle. "The framework of the being that still claims to be my dog has remained with me. It sways and roars gently in the current of time."

Title: Alcian Blue
Year: 2010
Medium: dyed mouse embryos, synthetic resin, silver
Size: 30 x 15 x 15 mm            

The Last Register (with Konrad Gruber, Video 7:01, 2012

On a cold January morning, Konrad Gruber and Lilith Becker floated down the flooded Aare with a harmonium on a raft.

Lowering of the Wing, Video 22:00, 2015

"Suspended from a crane, I was lowered 70 meters into a hole in the Stuttgart 21 construction site, suspended in a dragon belt above the cast-iron harp of a concert grand piano. Additional microphones and a loop station were attached to the piano. During the 15 minutes of lowering, I played a self-composed song, which was transmitted by radio to street level."

Afarin Sajed


Afarin Sajedi was born in 1979 in Shiraz. She came to Tehran to study at Tehran Azad University, where she received her degree in graphic design.


With her creativity, technique, and powerful presentation, she draws theatrical characters, colorful faces like a clown, inspired by Japanese theater or use symbols of western religious art but in the face of the contemporary world. Her characters are usually royal, proud, and silent with a deep look.


The fish symbolizes most of her artworks and makes them closer to the surreal or pop surrealism styles.


Important Exhibitions:


2013 CHEF OFFER, Dorothy Circus Gallery, Rome, Italy


2014 The Unseen, Etemed Gallery, Tehran, Iran


2015 Scope Art Fair, SCOPE New York, New York, US


2018 Stronger, Etemad Gallery, Tehran, Iran


2019 Ecce Mulier, Dorothy Circus Gallery, London, UK


2019 District 13 International Art Fair, DROUOT Auction house, Paris

Like a King, 100 x 100 cm, Acrylic on canvas, 2013

Like a King, 100 x 100 cm, Acrylic on canvas, 2013

Feast, 200 x 200 cm, Acrylic on canvas, 2014

You Look Ready, 195 x 130 cm, Acrylic on canvas, 2019

Heritage, 200 x 200 cm, Acrylic on canvas, 2017

Contemporary Animal, 150 x 150 cm, Oil on canvas, 2013

Holy, 150 x 120 cm, Oil on canvas, 2014

Holy, 150 x 120 cm, Oil on canvas, 2014

Holy, 150 x 120 cm, Oil on canvas, 2014

Alexandra Gallagher

Award winning artist Alexandra Gallagher is a British multidisciplinary artist, who's work takes the form of collage, street art, prints, photography and painting.

Gallagher’s work celebrates the surreal and sublime. ­Between the realms of memory, dreams and experience, her work looks beyond our subjective limits and often tells a story of inner imagination and thought.Often working within a series, each piece is visceral and organic, the artist never knowing how each piece will transform.


Exhibiting and selling both across the country and internationally, she has been nominated for a number of awards. Shortlisted for the Zealous X, she was awarded the Saatchi Showdown Surrealism Second Place Winner and the Secret Art Prize Runner Up Winner 2016. Her recent achievements include being a London Contemporary Art Prize 2018 Finalist and being shortlisted for the Rise Art Prize.

Omniscient | 80 x 40 cm | Mixed media on canvas


60 x 60 cm

Mixed media on canvas

Transition of Hope

30 x 30 cm

Mixed media on canvas

Spring Sunrise | 60 x 60 cm | Mixed media on canvas

My Breath

71 x 71 cm

Mixed media on canvas

Rebirth of Truth

20 x 27 cm 

Mixed media on canvas

-The End-


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