The Exhibitionists is a fluidly organized collective of figurative woman artists. While individual exhibitionists move in and out of the group, their shared focus remains the same: how to authentically capture the contemporary experience of being a woman by disrupting and expanding the nude tradition.
Art Windsor Essex has a collection of roughly 4,000 works of art, but fewer than 20% of those works are made by women. The Exhibitionists, who mostly came of age in the 1960s and 1970s, are almost the same age as AWE, which began as the Willistead Art Gallery of Windsor in 1943. As the Exhibitionists studied art and began their careers, AWE’s holdings were growing alongside them. But here, as elsewhere, as these artists gained confidence and grew in their practices, AWE was still not seriously collecting women artists.
For The Exhibitionists, the female body is a contested site of power and celebration, of play and vulnerability. Chappus, Collins, Draisey and Renaud Fisher have selected work from AWE’s collection that reveals the institution’s strengths and gaps. They have placed their work and the work of other Exhibitionists alongside AWE’s collection to reveal what’s possible when we centre equity and bravery in our collecting choices.
We would like to acknowledge the valuable contributions of all Exhibitionists who have worked with The Exhibitionists since their inception in 2014. This includes Barbara Billey, Michele Birch Conery, Allison Brown, Eugenia Catroppa, Amy Chamberlain, Judy Chappus, Kendra Chappus Sikich, Sandie Collins, Julie Cook, Rebecca Draisey, Ashleigh Gatti, Jodi House, Melanie Janisse Barlow, Jenny Kimmerly, Carly Morrison Hart, Danielle Nicole, Amanda Paska Kowaluk, Linda Renaud Fisher, Rosemary Skinner, Suzanne Smith, and Tara Watts.
—Emily McKibbon, Head, Exhibitions and Collection
Curated by Judy Chappus, Sandie Collins, Rebecca Draisey and Linda Renaud Fisher, with assistance from Emily McKibbon.
The Exhibitionists are a group of figurative women artists who authentically explore contemporary experiences of being female. We paint and draw one another in costume, in imagined or real environments, often satirizing social constructs. Feminine nakedness is too often linked to seduction, sexuality, indecency, or powerlessness. Our work seeks to demystify the female form, celebrate beauty, and assert feminine power.
Some of us had parents who lived through wars, some the Great Depression. We grew up learning to fix, save, recycle, and reuse. Nothing went to waste. Our mothers laboured endlessly in cooking, cleaning, and caretaking, their lives narrowed by duty and expectation. As Alice Neel observed, these women were often judged as “ugly,” their bodies marked by hardship and relentless responsibility. ¹ They were not born that way; life etched itself into them.
Yet there was resilience, humour, ingenuity, and fierce love. Kitchens were loud with laughter. Clothes were mended with care. Beauty existed anyway.
We came of age in the 1960s and 1970s, riding the wave of activism and social change. Free speech, free love, access to birth control, and humanist principles surged forward. We moved into the sex, drugs, rock-and-roll angst of a post-industrial, pre-tech world—punk-laced, defiant, and soon shadowed by the AIDS crisis. Our resistance made a difference. We believed progress was permanent.
We are not immune to the pressures shaping women’s lives—the demands to behave, to be pleasing, modest, and quiet. Equality and freedom, we learned, were never immovable constructs. That erosion now makes our work more compelling. Our opinions are weighted by decades of quietly imposed rules. We are committed to honestly sharing our real experience. We do not consider ourselves classic feminists. We are humanists. We wrestle with beauty, age, relevance, and the modesty code. Our work rejects exploitation and is grounded in respect—for ourselves, for one another, and for those who engage with it.
We persist in moving beyond inequality toward a world that honours complexity, difference, and dignity. We have not given up. We still believe in the ideals our progenitors fought for.
How do you lose a voice you were never meant to have? How do you carry truth when it is dismissed before it can take form?
Our bodies hold the record.
Our images break the quiet, fracture comfort, and refuse erasure.
This work fills the silence with presence. It exposes what power depends on, remaining unseen.
We dare to be seen.
We don’t get the accolades afforded some artists but what we do have is the autonomy to tell the truth.
—Judy Chappus, Sandie Collins, Rebecca Draisey and Linda Renaud
“Do Women Have To Be Naked To Get Into the Met Museum?”
—The Guerilla Girls, 1989
Linda Renaud Fisher, Self Portrait, aka Proud to be a Pear, 2026
Installation with printed text on transparency, overlayed on framed antique mirror, juxtaposed with appropriated, gold painted wooden pear sculpture placed on small mirrored shelf. Courtesy of the artist.
This installation by Linda Renaud Fisher aims to encourage viewers to consider how negative framing of their physical appearance impacts their self-perception. It includes biographical references, including pears—a reference to early French settlers in this area, and the ways in which women’s bodies are denigrated. Here, they are something to be valued, beautiful despite the criticism of some. As Renaud Fisher notes: “Both the sculpture and old mirror have imperfections and dents, paralleling my body, physically and emotionally. The mirror allows viewers to see themselves and reflect on their own experiences with body image influences.”
Unlike many of the works in this exhibition, this particular work is based on Renaud Fisher’s life experiences and the transformative nature of working with the Exhibitionists.
Michele Birch-Conery
Various artists and mediums
At the end of her life, Michele Birch-Conery reached out to the Exhibitionists to participate as a subject in their meetings. Birch-Conery was dying at the time, and wanted her dying body to be portrayed by the group as a final artistic collaboration. A poet and artist in her own right, the collaboration and resulting exhibition were among the most significant of the Exhibitionists’ to date. An obituary for Birch-Conery, written by Barbara Billey, is below:
Michele Birch-Conery was born Margorie Ann Conery on Aug 3, 1939 in Vancouver, BC on the feast day of St. Lydia who made her living dyeing, spinning and selling rare, expensive purple cloth.
A visionary, mystic and social activist for women’s equality in the Roman Catholic Church, Michele’s life embodied threads of the sacred and profane. Her life spun around charisms of writing, storytelling, advocacy for women, prayer, service and teaching – a nurse, nun, university Women’s Studies and English literature professor, musician, poet and, in her final years, an ordained bishop.
Michele was conceived in rape by Rose who was 13 years old. She went into foster care and later was adopted at age six. Her adopted parents taught her to play the violin and piano; however, they isolated her from peers and after school activities. The father sexually abused Michele until she was 12 years old when she reported the abuse to authorities. She was sent to boarding school under the care of women religious who were her teachers, protectors and mentors. There she flourished in academics, music and stirred up trouble and fun with her peers. In her early adult years, Michele became a nun with the religious order Holy Names of Jesus and Mary.
Until she died at 81 years of age and especially throughout her childhood, Michele was plagued with cyclic vomiting syndrome, an incapacitating aliment known as an abdominal migraine. She was constantly under the duress of financial stress, medical marginalization and mental health challenges, used alcohol to assuage the pain. Nonetheless, Michele’s passion for life and resilience led her to embrace countless, spirit-filled adventures.
In her early forties, Michele reunited with her birth mother and lived with Rose and Rose’s husband for several years. She never married or had children.
In 2004, decades after she left religious life, Michele was ordained as the first Canadian Roman Catholic priest, an elicit ordination made legal by the presence of one ordaining bishop in good standing with Rome. She moved to Windsor in 2014 and established the Heart of Compassion International Faith Community, along with several progressive Roman Catholic local women.
Michele was consecrated a bishop with the international Association of Roman Catholic Women Priests (ARWCP) in 2015. Her devotion to this sacred calling was total. There were multiple, complex challenges and opportunities that animated her well-honed life experience and gifts, and drew upon her life of prayer and contemplation.
As a dual citizen, Michele was keenly political and a consummate diplomat. She cared deeply about the pastoral and personal development of women candidates in preparation for ordination, often hosting them for weekends in her upper apartment and talking with them deep into the early hours. Her love of liturgy and her creative use of language merged in worship celebrations that were inclusive, feminist, ecological and evolutionary. Michele also had a wild imagination and a robust sense of humour.
In 2019, and a year before she died, Michele modeled with the Exhibitionist. After several, severe bouts of cyclic vomiting syndrome and at 94 pounds, she gave her naked, withered flesh and bones to be rendered in images: one final act of justice to counter misogyny and patriarchy. Michele laid down the purple cloth of her ailing and aging body for women elders who are often deemed irrelevant and whose bodies are seen as disgusting.
Moved by her courage and life story, the Exhibitionists have captured Michele’s power and beauty through their art-making and a recording of Michele reading two of her arresting poems, Exile and Reunion.
Judy Chappus, She Hangs With the Biker Ladies and Farm Girl
Various dates, Acrylic on wood, Courtesy of the artist.
The Exhibitionists started, in part, so that the artists would have access to live models for drawing. Drawing from life is an important skill for artists, but after graduating from formal training, it is hard to find the opportunities for life drawing.
She Hangs With the Biker Ladies and Farm Girl present two members of the Exhibitionists, but unlike traditional nude studies, the nude women are not reduced to line and form. These two works make is clear that Draisey is best understood as a humanist painter: her life drawings are grounded in a belief that the human figure retains material traces of the lives they have lived and enabled. Her work follows from a long humanist tradition in which the body is not merely observed but witnessed, carrying the ineffable traces of lived experience that resist easy articulation. These figures are never idealized; instead, they bear the marks of time and lives lived meaningfully, registering the presence of their subjects as fully human rather than as types or symbols.
Sandie Collins
Courtesy of the artist.
Sandie Collins’s linocut prints are highly accomplished works, both technically and conceptually, unfolding at a scale that allows the full complexity of life in a living body to surface through texture and symbology. Each carved surface carries the accumulated labour of its making, registering the press of the artist’s hand and the disciplined force required to cut, ink, and print at this monumental scale. What emerges are bodies that feel lived in, marked by vulnerability and endurance.
Collins’s artistic training comes from a lifelong approach to education that is grounded through material and making. In many ways, Collins’ intuitive and improvisational approach to printmaking is at odds with the history of the medium, resulting in print works that break against the strict technical limitations of the medium. It is within this tension between control and possibility that Collins’s work finds its force.
This triptych narrates a series of meetings between The Exhibitionists. The black and white checkerboard floor seen in each print is a character throughout many of the Exhibitionists works on view in this show, and is a record of their gatherings at Common Ground Gallery at Mackenzie Hall. The three works show the Exhibitionists coming together and moving apart, highlighting the ways in which lone figures can find each other in life, as in art.
Judy Chappus, Untitled
N.D. Mixed media on digital photograph. Courtesy of the artist
While the Exhibitionists originally started as a live figure drawing group, they now often take photographs of each other while they pose in whimsical configurations, wearing nothing or, if not nothing, elaborate costumes. Initially, of the sensitive nature of the work they do, they agreed that the photographs that they took would not be used directly in their practices.
As the group has evolved, however, they are becoming more open to the photographs themselves appearing in exhibitions. These particular photographs are hand-manipulated by artist Judy Chappus, who draws over each to add narrative elements, and to hide the identities of Exhibitionists that might be uncomfortable with their photographic likeness appearing in this exhibition. The resulting works draw on the surrealist tradition—think Hans Bellmer, for example—but respond to contemporary trends and issues.
Barbara Billey
The Exhibitionists decided to include works by previous members of the group, including this work by Barbara Billey. The artist notes:
I felt an impulse to express through art my mother’s beautiful, brutal two-year experience of living with stage 4 breast cancer.
The plastic bottles that were used to drain fluid from her lungs seemed sculptural, feminine. I knew Judy was an artist who captured the female form with the intention of capturing women’s lived reality. When we had a chance encounter in the therapy pool at Adie Knox, I told her about my idea. She welcomed me to meet with her and the other Exhibitionist artists, Rebecca and Sandie. They encouraged and added to my ideas about a sculpture for their upcoming exhibit.
I used five drainage bottles and each contained aspects of Mom’s medical and personal journey: drainage tubing; strips of paper that were excepts from her journal; gauze; clear capsules to represent a myriad of drugs she had to take for pain and other symptoms; and a small amount of cremated remains with a rosary suspended from the top. (Mom was a devoted Roman Catholic.)
I also wanted to promote the need for regular breast screening. Our provincial health care discontinues screening after age 75 years. Why? A woman will likely die of other causes so the position is that there’s no need to expend resources on them. Sadly, this was not Mom’s health trajectory. She died July 1, 2018.
Ellsworth Kelly, Bleu et Jaune-claire et Rouge-orange
1970. Lithograph on paper. Gift of Walter Carsen, 1982
Ellsworth Kelly’s Bleu et Jaune-claire et Rouge-orange (1970) is a lithograph from his Suite of Twenty-Seven Color Lithographs, a pivotal series in his exploration of pure colour and form. The work exemplifies Kelly’s signature style of hard-edge abstraction, where flat colours are arranged in clean, geometric shapes. Here, the three primary-coloured ovals are stacked and framed by a field of beige. This composition is not representational, but an autonomous arrangement meant to evoke a sensory experience.
Kelly sought to divorce art from personal expression, focusing instead on the power of pure colour relationships and the physical presence of the canvas or printed plane. The Suite represents an entrepreneurial turning point, translating his large-scale paintings into the intimate and distributable serial format of printmaking. Within his broader oeuvre, this series underscores his core objective to capture observed “fragments” of the world in self-sufficient forms that use colour itself as the subject.
Written by Ella Chiang, AWE Curatorial Intern
Mel Ramos, Tobacco Rose
1965, colour screen print (serigraph) on paper. Gift of Walter Carsen, 1986.
Mel Ramos’s screenprint Tobacco Rose exemplifies Pop Art’s engagement with commercial culture. Executed in the flat, saturated colours of advertising, it shows a confident nude woman seductively straddling an oversized pack of cigarettes. This work riffs on the era’s common marketing tactic of using overt female sexuality to sell products. By literally fusing the alluring “rose” with the tobacco, Ramos presents both a celebration and a critique of the consumer seduction that defined mid-1960s America.
This approach aligns with Ramos’s signature style, known for painting voluptuous female nudes in playful, provocative interactions with well-known branded goods, from candy bars to comic book heroes. His objective was to showcase the absurdity of advertising clichés, inviting viewers to question the cultural conflation of desire, objectification, and commerce.
Tobacco Rose was created for the portfolio 11 Pop Artists, Volume II, which placed Ramos’s cheeky commentary alongside works by contemporaries like Andy Warhol and Roy Lichtenstein. This collaborative print project was central to defining and disseminating the Pop Art movement, cementing Ramos’s role as a leading, if intentionally irreverent, figure within it.
Written by Ella Chiang, AWE Curatorial Intern
Alexander Calder, Algue Rouge
1965. Four-colour lithograph print on paper. Gift of Walter Carsen, 1982
In the mid-1960s, American artist Alexander Calder was at the height of his career with his style during this period characterized by works of monumental scales such as “stabiles,” stationary abstract sculptures engineered from bolted sheet metal.
His inspirations remained rooted in his early 20th-century experiences, with his engineering background allowing him to design massive, seemingly delicate structures that interacted dynamically with space and weight.
As for his paintings, the biomorphic shapes and playful elements of his friend Joan Miró continued to inform his visual vocabulary. He maintained a high output of smaller works and vibrant gouache paintings on paper, which explored similar themes of colour and movement. During this decade, Calder began experimenting with lithography, a printmaking technique that allowed his gestural line and bold colours to be reproduced faithfully. His work “Algue Rouge,” means red seaweed, representative of the central organic red form.
Written by Ella Chiang, AWE Curatorial Intern
Sorel Etrog, Turkish Bath
n.d. Ink on paper. Gift of the artist, 2001
Sorel Etrog was a multimedia artist primarily working in sculpture but repeatedly exploring the tensions that shape human life across mediums. His art often navigated themes of movement, desire, connection, separation, and persistence even in mechanical surroundings. During his “links” period (1963–1971), he created abstract bronze sculptures featuring interconnected, organic forms joined by hinges, bolts, and other joining devices. These works physically and conceptually emphasized simultaneous union and separation.
While developing this style, Etrog looked to masterpieces of art history for fresh inspiration. One important example is Jean-Auguste-Dominique Ingres’ famous painting The Turkish Bath (1862), which shows about twenty-five nude women relaxing in a circular harem bath. In Ingres’ original, the women lounge on cushions, make music, dance, drink coffee, and smoke.
Etrog recreated this scene using his signature “links” motif, connecting the figures through both distinct and amorphous human joints that create visual tension between them. Etrog’s use of mechanical links reveals how the figures relate to one another like parts of a machine even in the original artwork. By applying his sculptural style to a classic painting, Etrog highlighted how even the most organic, relaxed scenes contain underlying patterns of connection and separation.
Written by Ella Chiang, AWE Curatorial Intern
Kunisada, The actor Nizaemon portraying Hosokawa Chogen
1861. Woodcut print. Gift of the Hortense Mattice Gordon Estate, 1971
Kataoka Nizaemon is a stage name used by Kabuki actors, beginning with Fujikawa Isaburo, who adopted the name. The actor Kataoka Nizaemon VIII held this name from approximately 1857 to 1862.
The actor was likely portraying a member of the Hosokawa family, a prominent samurai clan serving the shogun since the Muromachi period (1333–1568).
A note to viewers:
This Japanese print, dated to 1861, does contain a symbol known as manji. This is ancient symbol representing prosperity, good luck and eternity, rooted in Buddhism and Hinduism cultural and religious practices for thousands of years.
Written by Ella Chiang, AWE Curatorial Intern
Judy Chappus
Judy is a Windsor based artist and uses photography, sculpture, video, painting and writing projects to share her life experiences. She is a founding member of the group, “The Exhibitionists”, and has been working with other woman and artists in the community since 2014 to create and exhibit figurative works with an emphasis on changing destructive cultural beliefs regarding woman, power and identity.
In 2020 she wrote an independent book of poetry titled, Chop Shop, a book of poems about the neighbors. This publication is now part of the rare books collection in The Leddy Library at The University of Windsor.
On Salt Spring Island in 2021-22 she photo-documented and produced drawings, prints and paintings for a poetry and art book searching for a process by which to best share her experience of that bio-eccentric landscape. “Unfolding the Trees” is a series of life size graphite drawings on stretched linen embracing the notion of eco psychology by bathing the viewer in the magnificence, magnitude and bio diverse universe of trees. These works are meant to remedy our ever-fading connection with the natural world. She was one of four artists selected for The 2021 Salt Spring Mural Project and in 2022 she was a self-appointed artist in residence on Salt Spring Island resulting in a solo exhibition at The Salt Spring Gallery and a book of poetry both titled, “Understory”.
“They held a hand over the cave wall and blew pigment around it wanting to connect to something larger than themselves, something beyond space and time, something elemental and eternal.”
Chappus has an Honors BA in Fine Art from the University of Windsor, ON and a Masters Degree from the University of California, Irvine.
Sandie Collins
I have been a devoted artist since childhood, learning through play and physical engagement with materials. I often struggled within the structure of school, my attention pulled toward an interior world shaped by looking, imagining, and making. That early way of learning—through curiosity rather than instruction—continues to guide my practice. It was in printmaking with John Pufahl that I discovered the medium I wanted to devote my life to, a practice that became both my language and my grounding force.
My work explores presence, memory, and the passage of time. Printmaking offers structure and repetition—a fixed pattern that allows for unexpected moments when ink meets paper. These moments of spontaneity, emergence, and surprise are central to my process. Life experience, including physical injury and illness, has also become part of this practice, transforming making into a space for reflection, healing, and growth. This engagement with impermanence informs not only what I make, but how I approach the act of making itself.
Over decades of studio practice, my work has been supported by Ontario Arts Council grants and exhibited in juried and invitational shows across Canada, the United States, and internationally. Selected exhibitions include the TOMPE publications and exhibitions (2020–2024), the 8th Biennial FootPrint International Exhibition, Norwalk, Connecticut, where I received Honourable Mention (2022), the Canada–Japan Interchange Print Exhibition, Chiba, Japan (1994), and the Print Exchange project, with works displayed in London, Ontario, and St. George, Barbados (2022). My work is represented in public and private collections in Canada and the United States.
Rebecca Draisey
Rebecca Draisey (b.1960, UK) is a visual artist who has spent most of her life based in Windsor, Ontario. She was primarily home-schooled until attending boarding school at age 11. Here she thrived in the new busy new environment. As her parents strongly encouraged her to enroll only in what we now call “STEM” courses, she would sneak into the nighttime art class and hide under a table. After being outed by claiming ownership of a series of silkscreen prints laying out to dry, she was told that as long as she sat at the table and not under it she would be forthwith allowed to remain unofficially in the class. This deal did nearly come to end when she painted the teacher’s favourite chair metallic purple.
A decade later, Rebecca returned to Windsor with a busy career, worked afternoon and night shifts in ER, and attended art classes in the day, obtaining her BFA (Painting and photography) in the mid 90s from the University of Windsor.
By the mid 2000s Draisey started showing locally in Windsor, with solo, dual and group shows locally, as well as Sault Ste Marie, Toronto, and Detroit, Michigan. She remains a colourist, procedurally influenced by her abstract expressionist training, yet over the years her interests remain with psychological portraiture and narrative of social interaction. She attempts to express with paint the depths that words cannot plumb. A decade ago, what began as chat, food from the garden at Chappus’ dining room table, a touch of yoga led by Collins, and informal sessions of classic (nude) figure drawing, quickly and organically became something much larger. The artists knew that they were not just drawing bodies, but they were drawing each other as human beings, and there was something inexorably powerful and redemptive in this process of ownership. The Exhibitionists were born, and others were invited to join and participate as artists, models, poets, musicians, photographers and audio specialists, with 3 discreet shows held in Windsor between 2017-2019.
Draisey’s work with the Exhibitionists does not shirk from portraying the anger and anxiety that comes from facing dishonesty and injustice in our world, however fundamentally she explores humanist views of female reality, fierce determination, the support of others and our deep need to care for each other.
She is not a shrinking violet in paint, or in real life, and nearly 40 years of gritty front line medical work has influenced her in ways that she has only just begun to reconcile within her art practice of the last decade. As well as The Exhibitionists, in recent years Draisey has worked with The Control Group, showing at Common Ground and Leamington Art Centre (2024). She also has just come off the tail of a well received solo show ‘Always Looking’ at Villa 92 in Tecumseh (2025) with themes of quiet observer, nature, and water.
She wishes that you enjoy the show, and feel free to ask questions.
Linda Renaud Fisher (english)
La version en français suit.
Renaud Fisher is a multidisciplinary artist who resides in Windsor, Ontario. She is motivated by the desire to explore various facets of community life, including the built, historical, natural and sociopolitical environments. She holds a Bachelor of Fine Arts in Visual Arts (2018) from the University of Windsor and is the recipient of several grants from the Ontario Arts Council.
The first several years of her artistic practice explored the historic Old Sandwich Town community, resulting in several bodies of work including a few collaborations with members of the community.
In 2019 she joined onetenpark: a working space, during which time she co-founded Les jardinières urbaines with Susan Gold and Kewy Janisse. Their work is a reaction to environmental issues such as the degradation of biodiversity in the context of the urban centers.
Renaud Fisher more recently joined Judy Chappus, Sandie Collins and Rebecca Draisey as a member The Exhibitionists, initially out of her discomfort and concern with the way women have been historically depicted in the visual arts and various other media. As an Exhibitionist, her work explores the female figure by visually documenting and interpreting the time and intimate situations that she and her friends share while modeling with, and for each other. Her work is a response to contemporary culture’s unrealistic and unhealthy images of women with which we are constantly faced, and consequently the ongoing pressure to conform. Concerned with the negative impact on women, she searches for ways to promote self-acceptance and appreciation for the body.
As a multidisciplinary artist, she rejects any pressure to develop one particular visual language, considering herself visually multilingual. Renaud Fisher tends to paint ambiguously, often layering her work physically and conceptually.
Linda Renaud Fisher (french)
Renaud Fisher est une artiste multidisciplinaire qui habite à Windsor, en Ontario. Sa démarche s’articule autour du désir d’explorer diverses facettes de la vie communautaire, notamment les environnements bâtis, historiques, naturels et sociopolitiques. Elle est titulaire d’un baccalauréat en arts visuels de l’Université de Windsor (2018) et récipiendaire de plusieurs subventions du Conseil des arts de l’Ontario.
Au cours des premières années de sa pratique, elle a exploré la communauté historique d’Old Sandwich Town, ce qui a donné lieu à plusieurs séries d’œuvres, dont quelques collaborations artistiques avec des membres de la communauté.
En 2019, l’artiste s’est jointe à onetenpark : a working space, où elle a cofondé Les jardinières urbaines avec Susan Gold et Kewy Janisse. Leur travail ensemble se définit comme une réaction aux enjeux environnementaux actuels tels que les changements climatiques, la dégradation écologique et le déclin de la biodiversité.
Plus récemment, Renaud Fisher s’est alliée avec Judy Chappus, Sandie Collins et Rebecca Draisey au sein du groupe The Exhibitionists. Ensemble, les artistes se penchent sur les images irréalistes et malsaines de la femme véhiculées par la culture occidentale contemporaine et à la pression constante de devoir s’y conformer. Préoccupées par l’impact négatif de ces images sur les femmes, The Exhibitionists cherchent à promouvoir l’acceptation de soi et l’appréciation du corps tel qu’il est. Dans ce contexte, Renaud Fisher explore la figure féminine par le biais de la performance et de la photographie; ces processus créatifs, libres et souvent improvisés se traduisent ensuite sous forme de dessins, de peintures et d’œuvres conceptuelles.
En tant qu’artiste multidisciplinaire, Renaud Fisher résiste à toute pression visant à limiter ou uniformiser son langage visuel. Ainsi, par l’entremise de ses œuvres, elle explore et met en valeur l’ambiguïté, la diversité et la complexité, autant physiquement que conceptuellement.
