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Anusha, Protrait. From The Series The Third Gender of India,
2013
Jill Peters
Photography : color edition, archival pigment print
61 x 41.1 x 0.3 cm 24 x 16.2 x 0.1 inch
$3,500
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About the artwork
Type
Numbered and limited to 9 copies
9 copies available
Signature
Signed artwork
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Dimensions cm • inch
61 x 41.1 x 0.3 cm 24 x 16.2 x 0.1 inch Height x Width x Depth
Support
Framing
Not framed
Artwork sold in perfect condition
Artwork location: United States
From the series The Third Gender of India Archival pigment print Edition of 9
More Editions & Sizes: Medium size: 35.2 H in x 27.7 W in. Edition of 6 Large size: 60 H in x 40 W in. Edition of 3 Unframed
This striking artwork features a woman standing gracefully by a serene waterfront, enveloped in a vividly colored sari that captivates the eye. The sari showcases a harmonious blend of blue, red, orange, and purple hues, adorned with delicate motifs, contrasting beautifully against the tranquil backdrop. Her poised stance, with a small bouquet of flowers held gently in her hands, exudes a sense of calm confidence and elegance. The cloudy sky and gentle ripples in the water add an atmospheric depth, enhancing the visual narrative of serenity and introspection. The composition's balance between vibrant colors and natural elements creates a dynamic yet peaceful scene, reflecting cultural richness and natural beauty. This piece uniquely captures a moment of stillness, inviting reflection and appreciation of the harmonious interplay between humanity and nature.
The term "hijra" applies to a very diverse group of people in India who identify as third gender. They can range from a natural born hermaphrodite to a male cross dresser. Dating back as far as the Kama Sutra by some estimations, hijras were both revered and feared as powerful entities who lived between the sexes. They were believed to bestow good fortune and fertility by dancing at weddings and the births of children. Over the course of history their status and usefulness in society survived centuries of historical evolution. Within the last 150 years, as western prejudices have encroached upon Indian codes of sexual morality, the hijras have fallen precipitously from grace. Today, hijras live on the margins of society. They face severe harassment at the hands of the state and the wider population. Police brutality and sexual assault are common. Because hijras are generally seen as unemployable, they have resorted to sex work and begging for survival. This creates a catch-22 whereby their reputation as second-class citizens is further stitched into the fabric of society, and they find it difficult to escape this endless cycle of dehumanization. This dark prospect, however, has done little to stem the tide of young boys who are irrepressibly drawn to the big cities by their innate femininity. The artist intention was simply to portray them as the subjects of beauty and grace they so desperately wish to be, as if their path to nirvana had not been impeded by a century and a half of prejudice and intolerance. Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected go-cart track. Shooting mostly from air, which allows her to find a new level of intrinsic beauty to otherwise overlooked structures, Peters has gone on to capture and document man’s wider imprint on nature. Whether it’s the graphic symmetry of urban architecture or the abstract choreography of the forms and hues of nature itself. Within this body of work, one can marvel at the worn wreckage of the past or the fragile resources of the present.
About the seller
The Art Design Project - Art Gallery • United States
Artsper seller since 2019
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Presentation
Born in Miami and trained in NYC. Peters worked with prestigious photographers such as Patrick Demarchelier and shot editorials for Harper's Bazaar, LIFE, Interview, Details, George, Vanity Fair, and many more publications.
Upon returning to live in Miami Beach in 2012, Peters happened to revisit the Miami Marine Stadium, a landmark she had frequented as a child, Long abandoned. Jill Peters finds her inspiration in the quickly changing architectural landmarks of her youth, like the demolished Miami Herald building, an abandoned roller coaster or a neglected go-cart track.
Shooting mostly from the air, which allows her to find a new level of intrinsic beauty to otherwise overlooked structures, Peters has gone on to capture and document man's wider imprint on nature. Whether it's the graphics symmetry of urban architecture or the abstract choreography of the forms and hues of nature itself. Within this body of work, one can marvel at the worn wreckage of the past or the fragile resources of the present.
Jill was recognized in Photo Lucida's Critical Mass Top 50 international competition, 2013, and the New York Photo Festival 2013. Her work has been exhibited in group shows this spring at Houston Center for Photography, Corden/Potts in San Francisco and Powerhouse Arena in New York 2014.
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