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• 1 media/LOWRES_Floors-Room-324_2018_oil-on-linen_166-x-216cm-e1541415055507.jpg 2020-10-14T22:04:27+00:00 Floors, Room 324 by Caroline Walker 18 by Natalie Kim image_header 2020-12-06T22:16:16+00:00

  Caroline Walker is a Scotland-born, London-based artist who is known to paint the lives of women, from the spectrum of two extremes, luxury, and oppression. In her recent works, Walker focuses on capturing public and private moments of women who work behind the scenes of society.  

  The painting Floors, Room 324 was painted by Caroline Walker in 2018, illustrating a housekeeper at work. If this painting looks any familiar, maybe the 1849 'The Stone Breakers' by Gustave Courbet sparks to mind. From the large scale painting size to the style of social realism, many attributes can come across similarly in reference. The most distinctive likeness between these two works of art is the hidden faces with the backs against the viewers. The Stone Breakers portray two peasants going about their day with labor, breaking rocks. Gustave incorporated these faceless figures to portray a sense of reality. Regardless of having prior knowledge of Courbet’s The Stone Breaker, the viewers can, still easily, be able to interpret “faceless figures” as insignificant or unimportant. Already, the subject in the painting has a valueless connotation.
  
  

  Visually, looking from a distance, there is nothing too special about the subjects within the artwork. To our knowledge, the painting illustrates a housekeeper cleaning a standard hotel room, nothing new or intriguing. However, Walker finds interesting ways to make a subtle yet powerful statement out of the space and relation between the female figure and her environment. Oftentimes, viewers assume that a figure is the main subject but in this case, the only visual element that points to that conclusion is the linear perspective of the closets and walls pointing towards the women. Therefore, there is a distinction between two clashing subjects, the female figure against the room. There is a contrast that instinctively alludes viewers to assume a greater value within the room than in the figure. That is, the woman is clothed in a dull black monotone attire, blending into the neutral dark floor, fading into the background of the painting. Whereas, the room is clean with vivid colors and tones, bringing life and character within its space. In other words, the room appears to be more alive than the active female body. 

  The contrast continues as the female figure is compared with another inanimate object within the environment. The woman is painted a bit messy, seen with a lazy bun hairdo and streaky harsh brushstrokes emphasized on her skin. Then against the body is the white bed and the clear glass window that is penetrating within the brightest light. The contrast of dark and light suggests that the bed is cleaner and more glamorous than the figure. Furthermore, in Walker’s view, the room itself is rather tight and compact, almost trapping the female body in a small space. Only through her position as a worker can she access the pleasant view. From the relationship between the figure and her space, differences of value are expressed. Walker emphasizes the raw realities of housekeeping, dominantly of females. 

  The stigmatic roles of a patriarchal society can be traced way back in time. Nochlin, in Why Have There Been No Great Women Artists?, validates that women throughout the centuries have been entitled to find their value in serving the household(1). The only “real” work of a woman was serving the family. Any other commitments were seen as selfish and inappropriate. From an early age, females were taught to be selfless and service-oriented. In fact, how likely is it to see males engaging in maintenance and housekeeping matters even today? Still uncommon. Women take on these roles that society today often overlooks, though, these roles are crucial in keeping our society intact and functioning. Walker spotlights these very subtle mundane moments of these “invisible” female workers who are often unseen to empower and to credit their hard work. 

  
  The modern society is no different from the past. According to the U.S. Bureau of Labor Statistics, women have been taking on more roles of housekeeping than men.

  “On an average day, women spent more than twice as much time preparing food and drink and doing interior cleaning, and over three times as much time doing laundry than men(2).”

  
  
  Similarly, a 19th-century artist, Alice Barber Stephens, brought light into this perspective of female workers. In 1897, Stephens created an artwork titled, The Women in Business, illustrating the changes in women's roles by depicting a late 19th-century shopping scene(3). The painting included a space full of females in both high and low social standings. Though Stephens portrays certain working women as low class status, there is a greater emphasis on the acknowledgment of women in the workforce. 

  
  Just like in Stephens’ paintings, Walker’s work of art points back to the appreciation for females in the everyday workforce, specifically within the uncredited positions. No matter how little or insignificant the job may seem, women take on those roles to push the world to move forward. It’s important to recognize that the artist capturing and depicting these scenes of women is a female artist. It’s important to recognize an artist's gender because it helps viewers interpret the work differently. Whether that can result in approaching a work with appreciation and pride or with judgment and disinterest. From a men’s point of view, this artwork can be impersonal, intaking exactly what the art portrays: a female housekeeper going about their day. There may be very little to no interest in finding appreciation towards this faceless woman. Just as women don’t understand a male’s perspective or experiences, men cannot understand the roles that are entitled to womanhood. Compensating, shaping, adjusting lives to fit and flow within a patriarchal society has always been the life of a female. Within this understanding, a female can empathize, appreciate, and empower the works of other females. In this artwork, specifically speaking, the daily tasks of a low profile worker.  

  Caroline Walker’s Floors, Room 324 is visually straightforward. A woman cleaning up a room. Despite its simplicity, through the subjects, through the colors, through the contrasts and context, there is a deeper root that reinforces preconceived notions of gender roles and realities. By specifying elements and appropriations that trace back from the style of realism to the roles of womanhood, Walker proposes an insightful approach for the next time someone comes across something so simple and raw.