The female form is quite possibly the most pervasive figure depicted in art: the curvaceous fertile mounds of the Venus of Willendorf, to the soft, sumptuous rolls Renaissance bodies. Womens’ bodies are, in the fine art world, undeniably divine vessels that have the capacity communicate beauty, fertility, fecundity, status, and any number of additional expressions. 

Lost in contemporary society, however, is the celebration of bodies in such a devotional, ethereal manner. For decades bodies have been commodified and commented upon, tweaked and toned in order to conform to a model of efficiency that in many ways denies the beauty of form.  

Today’s body positivity movement has carved out space for femmes with curves in mainstream media, a landscape that has been traditionally hostile to more supple female forms. 

Elisa Valenti, “Every Last Drop” on view at Established Gallery. Image courtesy of the artist.

Elisa Valenti has been subverting that misconception in her deviant work, boldly exhibiting her curves in delightfully indulgent self-portraits. Using self as muse, the Queens, NY based artist’s understanding of “radical worthiness” isn’t generated from societal acceptance, but from the realization and understanding that one’s body is beautiful exactly as is. You don’t need to look much further than her cult-worthy smash piece, “Pizza Girl” to understand that Valenti’s approach to self-love is completely unapologetic.

Freedom within the self is central to Valenti’s figural paintings. Her newest works, which made their in-person debut September 4th at Brooklyn’s Established Gallery, invites viewers to experience the freeing sensations of being in a body unconstrained by fear or shame. This exhibition also marks the artist’s first solo show; “It’s exciting because I get to express my message,” Valenti comments. 

Between voluptuous forms nestled amidst lush greenery and paintings she describes as her “Fat Take on Matisse,” Valenti is presenting two new pieces which engage viewers in an exercise of introspection that functions almost as a challenge. 

Elisa Valenti, “Face Yourself” (2020) on view at Established Gallery September 2020. Image courtesy of the artist.

Valenti’s confrontational piece Face Yourself  “is an homage to the idea that we need to look in the mirror and look at ourselves, take a hard long look and accept who it is regardless of the flaws,” she states. “Part of my own experience is being in denial of things that i didn’t want to exist – in denial of being fat because it was the worst thing i could be. But you have to just face those things and take complete acceptance for them and that’s where your confidence comes from.”

Face Yourself is a painting that stares you in the face and asks you to accept yourself fully, a sentiment that runs hand-in-hand with a feeling shared widely among artists who have found the last few months of relative isolation more liberating than isolating. “As an artist, i feel much more worthy now,” Valenti muses about the pandemic-fueled isolation. “I think all artists go through this idea of feeling insecure about actually being an artist. This period of time has proven to the world how important artists are and how important artists are in our society.”

Radical Worthiness is on view from September 4th-27th at Established Gallery 75 6th Avenue, Brooklyn, NY 11217.

Elisa Valenti “Fat Babe With Plant” image courtesy of the artist.
Installation view of an interactive element of Elisa Valenti’s “Face Yourself” on view at Established Gallery.
Elisa Valenti, “The Nurturer” image courtesy of the artist.