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In the newly created painting series Headless, Marianna Simnett makes direct reference to Max Ernst’s collage novel La Femme 100 têtes (The Hundred Headless Woman, 1929). In her dreamlike, at times nightmarish installation, she interweaves questions about gender social hierarchy, metamorphosis, vulnerability, control, and pain. Touching on ancient mythology, she connects past and present within her multidisciplinary practice and creates her own alter egos.
In the newly created painting series Headless, Marianna Simnett makes direct reference to Max Ernst’s collage novel La Femme 100 têtes (The Hundred Headless Woman, 1929). In her dreamlike, at times nightmarish installation, she interweaves questions about gender social hierarchy, metamorphosis, vulnerability, control, and pain. Touching on ancient mythology, she connects past and present within her multidisciplinary practice and creates her own alter egos.