Feminine Millennial Identity: Lala and Britney

Shaved, 2021, Acrylic on Canvas, 50cm x 61cm

Lala Drona taps into the feminine millennial psyche with your newest painting “Shave.”  (displayed above) 

“Encounter” void painting by Lala Drona

Following her previous series where she depicted the journey into “the void” she begins to discover the influences that have played a part in the construction of feminine millennial identity.  With its black background, one could presume that we have crossed over, and entered the void referenced in the former series.  From inside the void, the first image that emerges is one of a face split in half:  One side is Lala Drona, sporting her iconic sunglasses, and the other side is that of Britney Spears.  The image of Lala was taken from her short video “Jailbird for muse abuse,” where the artist’s head is shaved before she enters Paris Art Prison after being convicted of Muse Abuse.  Juxtaposed is the infamous image of Britney Spears’s, taken by the paparazzi when she escaped from her Pop princess keepers, and shaved her own head in 2007.

In an interview with Jay Lewis in Artleads Magazine, Lala Drona explains that she chose to paint a half-Lala, half-Britney painting in so that the images could be revealed with her “Every Woman” mirror box contraption.  Once the painting is put on the mirror box, you can see each side of the face reflected, which creates the illusion of complete and separate people (complete Britney, complete Lala). “I chose Britney for this piece after considering the references I had of women shaving their head before I had shaved my head for the first time.  I was surprised that although the media presented Britney as hysterical, I remembered this moment as her expressing agency over her own body.  I saw strength in the wild look in her eyes.  I wanted to be beautiful, strong, free, and wild like that too.  Britney inadvertently gave many millennial girls a reference for releasing the wild woman within.”

Reference for painting “Shaved”

Internet forums have been buzzing about a leaked handwritten statement by Lala Drona recounting the inspiration behind the piece.  The text, thought to be a draft of the art statement that accompanies the piece, says that this painting was an introspective look at sensationalized images of women during her formative years:

“In the late 90’s and 2000’s, the media presented women as objects to be consumed by the male gaze.  We learned that acting unintelligent was attractive, like Paris Hilton in The Simple Life.  We were bombarded with images from “Girls Gone Wild” and “Mardi Gras,” and it was custom for neighbourhood boys and male classmates to ask us to flash them as if we were the subjects in these programs.  Mtv’s Spring Break, and music videos showed us how we should act if we wanted to be seen and validated by mainstream culture.  The paparazzi preyed on young celebrity girls exiting their cars, in order to snap an upskirt photo and plaster images of their vaginas in gossip magazines.  This is what I saw on a daily basis while waiting in line at the grocery store.  Women were meant to freely offer their body to any man that wanted it, and men were meant to coerce women into giving their bodies by any means… 

(continued…)Of course, this misogynist media circus was a natural evolution from mainstream media of the late 80’s and early 90’s, but things have become even worse today for young women and girls with social media pressures and mobile photo editing apps.  Women should feel free to express their sexual power, but not feel as if it is the only power they have at their disposal.  Women are made to feel that their work is never enough, that the work does not stand without an attractive and unthreatening face/body to transport it.  Anyone who lives at the mercy of the male gaze is made to feel as if they should hide their image if it is not perfect by societal standards of beauty.  This pressure to either “exploit yourself or hide yourself” traps us within the body, with no chance to transcend it, meaning no chance for growth or evolution.  My intuition tells me that feminine power lies somewhere outside of our bodies, but it is with our bodies that we can connect to it.  It’s like another channel we can all tune in to.  If we are always made to feel that we are nothing more than our bodies, then we will never transcend those bodies and never tap into that feminine power.  We will remain docile, and easily managed.  We must find the way to break away from the body as prison; we must stop defining ourselves by the body. We must view it as a tool/vessel that enables us to connect and ascend to our most powerful selves.”

Some critics are saying the Lala Drona’s piece is a cheap attempt to jump onto the #freebritney trends regarding Britney Spear’s recent conservatorship battle.  Others remain satisfied with the project, and find its feminine millennial identity angle refreshing.  Will Lala Drona continue to explore millennial identity through painting, or will her journey into the void uncover something else?  We’ll keep you updated with Lala Drona’s top stories here on Based on a Fact.

Written by Warren Deniels, Independent Journalist  

Social Media using us: “The Like Me”

The newest addition to artist Lala Drona’s video series “La Minute Ladrona (The Stolen Minute)” has just been released:  Title:  “The Like Me” (video below.)

As if social media were a cosmic invader on the human species, the video begins with a view of Earth from outer space, and lands in Lala Drona’s home city, Paris, France. The viewer finds the artist underground, inside an air shaft.  Alone, and illuminated only by the light of her phone, she begins to voice opinions and expressions that have become all too familiar to anyone growing up post-millennial.    

The performance art video “The Like Me” delves into the isolating effects of social media through its guise of connection.  This video experience, examines the normalised anxiety we feel on a daily basis.

The art performance video series “La Minute Ladrona” exists within the context of a confined space.  The black backdrop and  unknown location capture the viewer for a moment of intimacy through the screen.  However, “The Like Me” stands to be the first time Lala Drona has located herself in the context of our outside world— now injecting elements of story into this video series.

“The Like Me” being the 7^th, and most recent instalment, has critics and academics alike seeing the beginnings of an evolution regarding the art video series.  As one critic in the L.D. Confidential stated: “The Like Me is the first time that Lala Drona has played with the idea of space and context.  She has become a being which exists in our shared world, albeit still hidden in the dark corners of it.  She is publicly appropriating the role of “observer.”  The detailed work regarding lighting, place and concept, shows a confidence and artistic maturity.  This new instalment promises more exciting things to come regarding Lala Drona’s work.”

This video has Art fans asking if this video is a sign of coming changes in Lala Drona’s social media presence. Perhaps this video is what remains from the journey she’s made from tool to master. One thing is certain: the creation of this piece shows us that no one is immune to the effects of social media. Even when an artist attempts to evade it, its omnipotence proves itself by resurfacing in her work.

Chalie Malonie, Digital ArtWorld Newsletter

Second Painting in Triptych Released

Lala Drona continues her project on “The Female Frame” finishing the second painting in the triptych.

The project “Female Frame” is a response to the question “What would the world look like through female eyes?” She states: “While growing up, a lot of emphasis is placed on how girls look and present themselves to the world. Images of “the trophy wife,” an object used only to increase the status of the man next to her. The “instagram look,” where women are augmenting their bodies, both surgically and digitally, in exchange for audience approval in the form of likes and comments…”

Female Frame: The Stage, 2019, Acrylic on Canvas, 20cm x 20cm

“…When it comes to scrutiny, women’s bodies have always been open game. Open game to be commented on by passerbys on the street, to be ridiculed for how they dress or present themselves. This is why the stage is an appropriate setting for the next room represented in this project. Women are born into the role of entertainer to the masses; when they leave the home (private space) and go into public spaces, they are put on stage. And it’s once the entertainer is on stage that the public feels that they are permitted to comment on her, right? Because, after all, they wouldn’t go up there, on stage (into the public world) in front of everyone, if they didn’t want the attention, right?” This piece examines the societal role of “visual entertainment” placed on women when they occupy public spaces.

If you’d like to see more about the project “Female Frame” click here.

Questioning Our Images: The Female Frame

Examination of the image becomes vital in a period of history marked by the smartphone and its accessibility to image and video creation.  Lala Drona inspires others to question the origins of our daily images through her research into topics concerning le regard (the gaze).

Female Frame, 2019, Acrylic on Canvas, 20cm x 20cm

During her appearance at the Bienvenu Art Fair at the Cité des Arts in Paris, journalist and video editor Mathieu Mieleszko followed Lala Drona to document the release of her painting “Female Frame.”  In this video, Mieleszko delves into the artist’s intention behind the painting, and provides a link between her artistic universe and its real-world applications.  His cinematographic style in this video is influenced by concepts behind the piece, mimicking le regard which follows behind the artist during the exhibition.  The style critiques the traditional objectification of women depicted through the male gaze, as women in the video are not simply objects to be seen, but instead look back (appearances by: video artist Jamika Ajalon, and stained glass artist Alison Koehler).   

Lala states that her present work on the female gaze examines “issues in the lack of diversity in the transmission of images and stories throughout history.  Our images predominantly come from creators of the same profile (male, white, heterosexual).  It’s not to say that these stories are not important, it’s to say that it’s time to share the stage.  We want different stories, a broader understanding of the diverse human condition.  And it’s time to bring commonly silenced voices to the forefront.”

Video still from Mieleszko’s film

 Her painting “Female Frame” not only inspires others to question the profile of the person behind our images, but also the corporate and political entities.  “We are bombarded with too many images today, in the form of Instagram, and other social networks.  Advertisers and political campaigns are able to post images at the same level of importance as the images from our friends and community.  The infinite scroll feature facilitates the mindless consumption of these images, and we are only beginning to see the negative effects of this.” 

            Lala Drona intends to create three paintings under the concept of “the female frame.” 

Video editing by Mathieu Mieleszko:
https://vimeo.com/user20455396
Music in video by Sim Hutchins:
https://soundcloud.com/simhutchins
https://simhutchins.bandcamp.com/

L.D. Times Article 2019: Clare Steele and Lala Drona

The L.D. Times releases its yearly article in a new format, this time doubling its artist coverage. Clare Steele (Australia) and Lala Drona (France), talk about their digital friendship, and what it means to be an artist today.

Full Article

Lala Drona, painter / videaste, and Clare Steele, conceptual documentary photographer, first met in Seville, Spain in June 2018. They met in an all-female artist residency, and with Ezra Enzo (USA), abstract painter, became a solid international artist trio.

“They really bounce well off of one another,” said other artists-in-residence about the trio. “Since the residency, they’ve been able to keep in contact and support one another from 3 different continents through voice message.”

When approached about the topic, Lala Drona stated, “I’m so happy to have these women in my life. This is an artist friendship that represents our times: Three strong female artists, living in different countries, empowering one another by sharing our experiences through smartphone applications, in long-form voice notes. Sometimes I feel like these voice-notes are our contemporary letter-writing.”

When Clare Steele visited Paris, France in October this year, it was essential that they finally record one of these conversations. Click below to read the full article.

L.D. Times Article: Artist to ArtistFull Article

To read all L.D. Times articles, click here.

Artist Family Values: Lala begins research

Lala Drona spotted at exhibition

In an interview with Art & Stylin’ Magazine, Lala Drona said that she has been “taking a break from output to reassess.”  The artist stated that she continues to work on creative projects, but in order to dive deeper into other projects, social media and blog posts had to be put on the back-burner:

“I’ve reduced my output online because of my commitment to essential projects offline. I came to the realization that in my journey as an artist, my values seem to be holding me back, creatively and otherwise. The troubling thing is, these values I speak of, arise, and stop me from moving forward; they are walls that do not explain themselves. I’ve realized that for better or worse, these values have been transmitted to me, through exterior sources. I’ve never taken a moment to work through the voices policing me to be a “good” person, or “good” artist. Because I like the person I have become, and I like the life I lead today, I have never thoroughly investigated the origins of these “values.” Now that I am an adult, and no longer a young person clutching on to stable things in an unstable reality, it’s time to unpack them. I’ve decided to begin writing about my values as an artist, to find out what it means to be an artist today in this new world.”

Thibaut Narme, Economics Lecturer and friend of Lala Drona

Lala Drona was spotted at Au Chat Noir interviewing Thibaut Narme, a lecturer at a business school in Paris.  Sources say that Lala Drona was researching for a section of the essay that examines free market capitalism and the role of the artist within it.  She mentioned other topics in the essay would include Death to the bohemian artist and The young and the mature artist.

“My European Art Tour was enlightening.  I feel like I’m finally seeing everything from outside myself—starting to see the strings of how everything works—I’ve been seemingly invited to the game my whole life, but it’s only now that I finally understand the rules. I’ve definitely had to take an unconventional path to get them.  Now, I’m finally getting ready to play.”

For some experts, these statements raise red flags.  As Lala Drona has not yet left the doghouse regarding her reputation involving allegations of muse abuse.  However, after her stint in Paris Art Prison, she seems to have turned over a new leaf, committing herself to use everything she’s learned through her experiences (and muse experiments!) to help her fellow artists.

Lala Drona is also preparing for participation in the group exhibition “Turtle Bienvenu” at the Cité des Arts in Paris—the opening on October 12^th from 6pm-11pm.  Lala Drona plans to continue her exploration of the female gaze, in the form of painting on canvas and in a video performance.  Don’t miss her first show since returning to Paris.

Newest video, desire or self-destruction?

Lala Drona’s latest performance video titled “Willing” has just been released.  The performance examines desire, choice, and notions of consent.  Critic Leanne Richmond stirred up media response with her recent reading of Lala Drona’s video, stating that, for her, the video is about “the inability to resist self-destructive behaviour.”  Based on a Fact caught up with Lala to learn more about the inspiration behind the video performance:

Lala Drona was inspired by ideas surrounding consent.  “I was thinking about the complexities of sexuality and society, and how in order to receive consent, we must in some way, already trespass.  In my video, this is demonstrated by how you cannot see the answer (yes or no) until the irreversible move is made by shaving.  Unwanted advances, verbal and physical, are seen as harassment (regardless of gender).  However, without them, we do not know how to begin advances towards what we want.  In a similar vein, this notion of obtaining consent is not at all new to women.  We have been systematically programmed to ask for consent to speak, consent to be part of to the team, consent to just be in the room.  Women asking men to start including it in their sexual practices is really nothing in comparison.”

Lala Drona mentions that the title “Willing” is not meant to be understood at face value, and is meant to be taken as humour au second degré.

Nonetheless, art critic Leanne Richmond theorised that “since Lala Drona is the only individual in the piece, this is really a piece about identity and the psyche.  The performer is asking and receiving consent from herself.  This demonstrates the loving and destructive acts we commit on ourselves.  In the video, although the performer’s psyche is saying “stop” (on the skin of her head), she is unable to resist the temptation to self-destructive behaviour, shown by the shaving of the rest of her hair.”

What do you think about Lala Drona’s newest art performance video? 

Spotted: Lala in Paris and on Crutches

Despite plans to return in August 2019, journalists have recently spotted Lala Drona on the streets of Paris sporting a new look. Ms. Drona has left her hair bleach bottles behind, and has returned to an auburn look this summer.  Accompanying her winter 2018 OAMC vest (menswear), she sported 2019 Nike-Ambush collaboration sneakers, topped off with her iconic round sunglasses by Gentle Monsters.  Previously, Lala Drona had never been caught wearing designer clothes on the streets of Paris…which begs the question: What’s with this new look?

Fashion specialists speculate that Lala’s new style reflects her growing financial success in the art world. Lala Drona can simply afford to wear the pieces that she admires, and therefore does. Another theory has Lala Drona and these brands in cahoots, suspecting a secret endorsement deal. Whatever the case, the accessories which intrigued and concerned journalists most were the crutches which support her. 

Lala Drona refused to comment when approached on the street, but journalists presume her injury was cause for her return.  Our team followed up on the story and traced back Lala Drona’s steps from her European voyage. Having stopped in Copenhagen on her way to Paris, we met up with passenger assistance.  Lala Drona, had checked out a wheelchair, and employee Emil Hansen was selected to help transport her to her terminal and airplane.  “She was friendly, and we made casual conversation.  She told me that she injured her knee painting.”

Emil Hansen failed to reveal details regarding the story, leaving journalists and fans in the dark regarding her hard core painting methods.  However, one thing is certain. The European Tour has come to an early end.  Lithuania was the last stop on Lala Drona’s year-long tour, and now she is expected to settle in Paris once again.  

This is BETWEEN US.

For the past four weeks, Lala Drona has escaped the hustle and bustle of the city and has retired in the small town of Kintai, Lithuania.  Away from distractions, Lala Drona has created a new diptych titled “Between Us.”

The first panel depicts several figures ascending, while the panel on the right depicts the same figures descending.  After an interview with Lala Drona, Diana Springer from the Daily Artlife Network relays what the artist said about these paintings:

“Between Us demonstrates the two choices that women have, starting from our first encounters with one another. We can ascend together, or destroy one another. The asymmetrical reflectivity of the bodies represent the slippery difference between creation and destruction. Observations show that first encounters between men and between women differ in the western world. In first meetings, men approach other men as if they are “friends first, and enemies later.” They are friendly, until the other provides a reason that they should not be.

In a world where women are statistically offered less opportunity than men, it is no wonder that women approach each other as enemies first. There is a smaller piece of the pie offered to them, so they are pitted against one another to fight over that smaller piece. This is why women approach one another with the mentality of “enemies first, friends later” (Springer, Daily Artlife Network, Issue XXII).

Lala Drona also stated that in her experience, not all women approach other women as enemies first.  “I’ve met women that are absolutely welcoming.  Other’s have given me the impression that I have to prove myself before we can be friendly. I created this diptych to show how we [women] may also be contributing to systematic oppression.”  This piece serves as a call to action to all women.  Lala Drona claims that the first step to unite as women is to change our perceptions of one another in our first encounters.  Perhaps, if we can see one another as allies first, rather than competition, we will be able to protect and trust one another.  And in the end, help each other rise to create a world where we can exercise our potential and prosper by our own rules.

Based on a Fact

The Colonel and the Muse Part II

It had been 3 days now since things had gone south with Muse Leira—she wanted Lala Drona out, out of that room as soon as possible.  Never had she ever met an artist so enveloped by her own work, so committed to her own style and message, an artist with vision alright…with tunnel vision. 

Muse Leira tried, time and time again, to inspire Lala Drona to continue her and Colonel Morgado’s work with battle strategies. She tried to influence Lala to wage art war on the Art Guild: the legislation which passed all art-related laws.   When that didn’t work, She tried to influence the artist to strategise against those who did not believe in art.  She tried to convince Lala of the destructive force that she possessed when she put paintbrush to canvas.  Muse Leira’s work with Colonel Morgado had been left unfinished, and she wanted Lala, more than any other artist to have entered that room before, to implement the battle strategies that Leira and the Colonel had started, into her paintings.

Lala Drona refused to accept the muse’s battle inspiration, and arrogantly explained to Muse Leira how this creative collaboration would unfold.  Lala had already decided on a concept, and merely needed the muse to help her develop the images for it.   The concept for the triptych of paintings would examine the development of online relationships/friendships, from the digital to the real.   It would unfold over three parts on three canvases:

Canvas 1:  “We Find Our Match in the Digital Masses”

Canvas 2: “We Give Each Other Space to Grow”

Canvas 3: “Together, We Make Each Other Human”

“Together we make each other human?  What’s so great about being human anyway?” Leira said.

Lala explained. “I meant for “human” to be taken metaphorically…like coming together in real life is what helps us maintain our humanity— or our compassion—empathy…”

“You are insinuating that “humanity” only expresses a compassionate side—while today more than ever we are witnessing humanity’s “inhumanity”. Not to mention, that idea is corny.  It would be a disservice to the entire triptych.  I’ll sign off on the first two ideas, but the third has got to go.”

Lala laughed, “I don’t think you really understand your role here.”

“Role?  You will suffer if you chose to stay in this room and not implement my inspiration.”

Lala scoffed and ignored the muse.  She threw herself into the work, but her ideas did not flow; she felt creatively blocked.  Sketching the third idea was like trying to manoeuvre a paintbrush with her toes.  The images would not translate onto paper.  But Lala kept drawing, too committed to her method.

Through the night, Lala persisted with her work but not without rebellion from Muse Leira.  Over the next few nights, Leira appeared to the dog outside Lala’s room.  At first, the barking only distracted Lala slightly, as she told herself that she would get used to it, just as she got used to the other sounds of the town.

Hours upon hours, the dog barked outside of her window, a rhythmic barking that ricocheted off the walls of the colonel’s room—every burst of canine scream was a wack over Lala’s ears. Muse Leira appeared over Lala as she drew, willing her own inspiration into the artist’s mind.  The more Lala resisted, the more Leira’s inspiration would change shape and become stronger.  With every wave of inspiration, Lala’s drawing began to warp and transform as well, into circles and lines, a battle strategy that she could not decipher.

The church bells clanged, the roosters cooed and every dog in that town barked simultaneously in the same rhythmic pattern. Lala covered her ears and screamed as an image of Muse Leira and Colonel Morgado emerged from a white fog with their troops behind them.  Flashes of bloodshed, of flesh in the air, a mix or white and red coalesced into a pink cloud.  They marched on through the pink fog…then, as quickly as it came, the image went dark again.  A new image came into Lala’s mind.  The artist, followed by her drones and muses, sitting atop a globe, sitting atop with someone she had never met before…working together towards a common goal. 

Lala began drawing the new image, and as she drew, the cacophony outside dulled; it subsided. Muse Leira appeared at her side with a hesitant smile.  Lala finished the drawing, but just as her pencil left the paper, the noise started up again.

Lala covered her ears and Muse Leira peered closer at the new concept for the third painting.  She read the title below:

Canvas 3: “Together, We Conquer the World.”

Muse Leira couldn’t have been happier with the results of their collaboration—she thought of Colonel Morgado, their late nights together planning their battle strategies, side by side like in Lala’s drawing.  Before the Colonel’s death, Muse Leira thought that they would one day conquer the world, and now through Lala Drona’s piece, in some way, they had. 

Muse Leira looked up from the sketch, and found Lala packing her bags.  The barking had stopped outside, but continued to pulsate through Lala’s mind. 

“The barking in my head won’t stop.” Lala said.  Lala held her head and threw her backpack over her shoulder.  She smiled.  “And I think our work here is done.”  She approached Muse Leira, who was standing in front of the door of the room.  Lala stood there, canvases under her arms, and looking Leira up and down.  She took a deep breath and then hugged her. “Thank you, Leira…for everything— I know I’m not easy to work with, and my inspiration extraction techniques are unconventional, but I knew you could do it all along.”  Lala patted Leira on the shoulder.  “Well done.”  Lala sighed, pushed through the doorway, and ventured into the night.