Forming the column of the pedestal, in myriad different handwritten fonts, are words generally framed as compliments to those perceived as feminine: "pretty, loyal, feminine, bubbly, ladylike, virgin, pure, precious, devoted, demure, charming, sexy, refined, vivacious, lovely, exotic, baby, accomplished, chaste, cute, darling, beautiful, sweet, adorable."]

I'm sure everyone's familiar with the idea of a backhanded compliment: where all the words are polite, even nice, but they are used in a context and a manner that actually insults the person being described.

"You're so much smarter than most girls!"

"...."

"What? I said you were smart! That's a compliment!"

Even more subtle are descriptions that serve to separate and elevate the object; even if it is in a complimentary fashion, it is still dehumanizing. And with that built-in defense of "but it was a compliment", no wonder it is so frequently used by those with more privilege to keep those below them in their place.

This piece focuses on those words most frequently used to compliment white women. A few words, like "exotic" and "dainty" are even more frequently aimed at women of color; the gender/race intersection when it comes to language is complex and hideous.

Because this comes up every. single. time I've talked to someone about this painting, I will reiterate that the problem is not with being complimented! The problem is with the context, the connotations, and the strength with which words like these call up the stereotype of a waifish, fainting flower with little intelligence and less willpower.

I don't want to be put on a pedestal. It's lonely and cold up here, and I feel so brittle, like I will shatter if I so much as breathe.

Read my blog post about this piece.

Original is for sale. Contact the artist for more information.