charLotte

Schwimmen
Art poster
42 x 59,4 cm

charLotte

Let me get metaphorical – kind of.
The rejection of an artwork or one of my texts is a romantic rejection. As the rose cavalieresse that I am, I’ve bared a piece of my soul, stood naked on a lawn with a boombox and shouted from the rooftops that I believe in myself, so to speak. Just so (months later) the recipient tells me that this something I believe in, into which I’ve poured effort – this piece of my soul, in a way – “unfortunately, due to the number of submissions, will not be featured in the edition.” But thank you loads, and do try again.
Rejection lives in a lonely cave, but (with some distance), it also inspires revisiting and reflecting on a work to perhaps earn a second chance.
The Salon de Refusées isn’t just that second chance for artists, providing a platform for works in which we believe. It’s also an opportunity to share the experience of rejection, to not feel alone but rather as another lady in the club of rejected cavalieresses.

Given the sensitive nature of CharLotte’s work “Schwimmen” and its accompanying photographic series “selfportraits/vulnerable,” the artist navigates the deeply personal territory of female sexuality and self-perception. Her art poster and black and white photographs underscore a journey of self-discovery and the confronting of insecurities that resonate universally among those socialized as female. The rejection from Flut Magazine only amplifies the relevance of her work to the Salon de Refusées, a platform that could amplify voices and experiences often marginalized or silenced.

CharLotte’s work is not merely a personal narrative; it’s a broader commentary on societal attitudes towards female sexuality. Her text, paired with vulnerable self-portraiture, invites the audience into a space that is often left unexplored in public discourse. By choosing to present this series at the Salon de Refusées, she aligns herself with a history of artists whose work challenges prevailing norms and provides solidarity and empowerment through shared experience.

Her contribution to the Salon is particularly potent; it promises to transform the exhibition space into a dialogue about the complexities of female experience, offering insights that can be both intimate and liberating. The unframed presentation of her work suggests a direct and unshielded engagement with the audience, fostering an environment of raw authenticity.