Although I don’t consider myself much of an artist, art has always been an important part of my life. My grandma painted several of the paintings in her home, my mother took me to the art gallery nearly every week when I was little, and art was my favorite class in middle and high school. In my opinion, the best part about being an art junkie is finding something new and beautiful to connect with.
I first discovered Sofia Bonati’s artwork on the pages of Womankind magazine in “View From My Window.” Her heritage is what first caught my eye: although she currently resides in the United Kingdom, she hails from Argentina, as do my grandparents. Although she was born into a family of artists, self-taught Bonati took up graphic design and illustration as her profession after studying geology. Taking a cue from Charles Bragg, Bonati uses inks and watercolor to bring her drawings to life, creating beautiful and surreal illustrations of rosy-cheeked women (and men, on occasion).
Before being introduced to Bonati’s work, most of my favorite artists were European, male, or both (Frida Kahlo being the only exception). Although she takes inspiration from male artists such as Klimt, Klee and Modigliani (some of my favorites), looking at her portraits is different; she paints women in a way I don’t think a man ever could. Although all of her portraits share certain features such as feminine faces and mysterious eyes, each one is undeniably unique. As a woman, I find looking at these haunting figures painted by another woman to be an extraordinary experience. I am always astounded by art’s ability to tell a story, and in a way these ones tell mine. Their eyes stare straight into my soul, and the fact that their heritage is similar to mine (or, their creator’s is) is particularly intriguing. It is as if these paintings know me, and that could be the reason I feel a connection with each of them and the art as a whole.
In her interview with Womankind, Bonati says she takes inspiration for the colors, patterns, and textures of her portraits from nature. The evidence of her time spent in parks can be found in the backgrounds of her paintings, the hair and clothing of the girls (especially the butterflies), and the doe eyes in everyone she paints. Seeing women’s bodies connected to nature brings me to the the roots of ecofeminism, a belief that women are inherently connected to nature and therefore ecological concerns can be combined with feminist ones.
I am a firm believer that art can change one’s perspective, and these paintings have changed my view of myself and other women. Seeing imperfection and elements of nature incorporated into portraits, which are oftentimes formal and flawless, is a refreshing reminder that beautiful, incredible women are composed of the same imperfections and natural elements.
If you’re looking for some art inspiration, a quick fempowerment, or both, I highly recommend checking out Womankind magazine. It’s not cheap, but it’s beautiful and worth every penny. Your brain and your eyeballs will thank you.
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