Artist interview: Megan Du, Batsford Prize 2023 Illustration Winner

Next in our Batsford Prize 2023 (Theme: At Peace) Artist Interviews series we hear from illustration and visual media student Megan Du, who was awarded the prize for the Illustration category, for her piece Tribe.

Megan is studying Illustration and Visual Media at the London College of Communication, University of the Arts London. Her winning creation Tribe is a story dedicated to all women that explores the exploitation of modern women by beauty standards from a patriarchal society. Megan’s piece is laid out over six pages of colourful illustrated artwork, titled Bullying, Makeup, Skin, Shoes, Run Away and Linking.

‘In this all-female society, the woman has finally found her place. She no longer judges her appearance as her entire worth; she has her own hobbies and is curious about the world; she exists as a creative subject rather than an object objectified and following the standards of others; her menstruation is like the cycle of the moon, evidence of the natural connection between women and nature; she creates intimate connections with other women and is no longer cut off by the lies of patriarchy. The woman no longer feels alone.’

Hi Megan, can you tell us what your piece is about? Can you tell us what initially influenced it and what it means to you?

Tribe is a story dedicated to all women, exploring how beauty standards imposed by patriarchal society exploit modern women. The story is divided into six chapters:

Chapter 1 – Bullying

A woman lives alone in the jungle, while across the river, there is another tribe that is very different from her. The people in the tribe find her appearance strange and do not accept her. The men in the tribe bully her, mocking her appearance and menstrual cycle, pulling her hair, and destroying her creations – pottery and doodles. Feeling isolated, the woman seeks to fit in with the tribe and find acceptance, so she begins to change herself.

Chapter 2 – Makeup

The woman embarks on her first transformation. To conform to the tribe’s aesthetics, she starts to whiten her skin. She applies snake blood to her face, causing it to peel like a snake. After the peeling, her skin becomes paler, but it comes with the price of acne and uneven skin tone. Then, she covers her face with powder and paints her face with the same markings as the tribe’s women.

Chapter 3 – Skin

Soon, the woman undergoes her second change – all women in the tribe are required to wear a single-size skin. This skin tightly wraps around the woman, shaping all body types into a standardised figure. Curvy women must cut off excess flesh to fit into this skin, while slender women begin to wear padding around their breasts and hips to fill the skin.

Chapter 4 – Shoes

Lastly, tribe members demand that women wear impractical shoes. These shoes look glamorous and exquisite, but they make walking difficult and require careful attention to avoid stumbling. The woman can no longer run freely and carefree as before. The oppressive rules become overwhelming, and the woman feels fearful and trapped, prompting her to escape the tribe.

Chapter 5 – Runaway

The woman jumps into the river and swims to the opposite bank. The water washes away all traces, clearly reflecting the woman’s image – one completely different from what the tribe’s mirrors showed. She smashes the mirror she brought from the tribe, deciding to accept herself fully, even if it means being alone. She no longer confines herself to others’ rules. Deep in the jungle, the woman discovers unfamiliar footprints that lead to a cave, which, in turn, leads to a brand new and liberating world for women.

Chapter 6 – Linking

In this all-female society, the woman finally finds her belonging. She no longer judges her self-worth solely based on appearance; she has her hobbies, filled with curiosity about the world; she exists as a subject of creation, not an object objectified and following others’ standards; her menstrual cycle becomes evidence of the natural connection between women and nature; she forms close bonds with other women, no longer torn apart by patriarchal lies. The woman no longer feels lonely.

In today’s society, women often feel pressure to conform to beauty standards imposed by patriarchal culture. The new wave of feminism  believe that pursuing beauty is a personal choice and should not be about pleasing the male gaze or succumbing to patriarchal oppression. However, it is challenging to ensure that the personal choices made by women who grew up under patriarchal influence are entirely independent of the male gaze. Indeed, whether women choose to wear makeup or lose weight may be personal choices, but do women have the right to opt-out of these appearance-related decisions altogether? Or do women have the right to detach themselves from society’s notion of ‘beauty’ and reject judgment based on appearance, just like men?

My artwork aims to challenge these notions and convey that deviating from traditional feminine traits does not weaken a person’s identity as a woman. Makeup, long hair, and dresses are not inherent female characteristics but rather societal constructs learned by women in patriarchal societies. Rejecting society’s beauty standards does not equate to losing feminine traits or becoming more like men. On the contrary, it brings us closer to embracing our true selves in their natural state.

Female identity should not be confined solely to society’s aesthetic standards. It should be rooted in being a human being first and a woman second. The value of women should be based on our creativity, intelligence, and character, rather than solely on objectifying us based on our appearance. By celebrating our unique qualities, embracing our authentic selves, and challenging societal norms, we empower women to transcend objectification and reclaim their identities. The essence of femininity lies in staying true to ourselves, embracing individuality, going beyond superficial judgments of appearance, and affirming our worth.

Throughout the creative process, I attempt to tell stories visually and use metaphors to convey feminist ideas. I draw inspiration from various books, such as The Great Cosmic Mother, The Beauty Myth, and The Chalice & The Blade, which provide theoretical support for my artwork. Through this project’s exploration, I hope to deeply reflect on feminism’s impact on my life and social environment, as well as how to approach and analyse things from a woman-centric perspective in daily life.

This project is a reflection of female self-expression and female identity, as well as an important exploration and attempt at radical feminist ideology. Reading about feminist themes has given me thoughtful guidance, and the results of this project have opened new horizons in my illustration career. I am pleased and proud of the research outcomes. I am immensely grateful to all those who supported me throughout this journey and hope that my artwork can convey the spirit of feminism, guiding my future creative endeavours and life.

What mediums or materials did you decide to use, and why?

In the Middle Ages, illustrations were an important medium for spreading ideas amongst a population with limited literacy. Even in today’s society, I believe illustrations remain a powerful and accessible visual language, capable of conveying ideas and emotions in an intuitive manner. Throughout the creative process of this project, I studied various medieval illustrations and learned from them：Medieval Illustrations, Unfolding Action, Decisive Moments, and Perspective of a Flat Surface.

Regarding my artistic technique, I started by gathering inspiration through collages and then proceeded to create all the initial sketches by hand using watercolours. I have a fondness for vibrant colors; they feel like a natural part of my bloodstream. Consequently, I used the RGB format to create the canvas digitally on the computer and ultimately utilised digital drawing to complete this project. To retain the brightness of the colors in the physical realm, I opted for Inkjet printing to produce the final illustrations and zine.

What made you want to study illustration?

When I was a child, there was a secret corner in our house – behind the curtains of the study room. Often, when my parents dozed off in the afternoon, I would sneak away from their side. The chirping of cicadas, the bright light, and the sweltering air seemed to freeze time. The scorching afternoon sun of my childhood poured freely onto me, warming my body that had been frozen by the air conditioning. I felt like a newly awakened frog, and it was illustrations from picture books that awakened and ignited me. The marvellous patterns and colors always gave me a sense of detachment from reality; that was my initial memory of illustrations.

As I grew older, I attended a very strict middle school where the primary task was to achieve good grades, and individuality or hobbies were not encouraged. I found school boring because I didn’t have like-minded friends. The happiest moments in my memory were every Friday after school, going to the school bookstore to buy magazines and comics. For illustrations, it was like a free wonderland where I could briefly escape from reality.

I would secretly doodle on arithmetic paper and textbooks, drawing my disliked teachers in ridiculous ways or expressing my dissatisfaction through comics. These illustrations were passed around in class secretly and were even sought after at one point. I also enjoyed being responsible for the school’s wall murals and wall newspapers. I realised that this was what I truly enjoyed. My ideas received support from my family, so I began studying art in college. The original passion for illustrations drove me to be curious and enthusiastic about learning, creating, and expressing myself.

What are your biggest artistic inspirations? Are there other artists who you admire or who inspire you?

My creative inspiration comes from various sources, with a significant part arising from my fascination with dream cores and peculiar comfort. I am deeply intrigued by mysterious and unknown phenomena, including mysticism, esotericism, and unsolved mysteries. These intriguing subjects constantly spark creative ideas within me. I plan to explore these mysterious elements in my future works, providing viewers with a distinct visual and emotional experience.

I also find delight in the art of ceramics, sculptures, and tapestries found in museums. Vintage objects never fail to trigger my vivid imagination, and I often draw inspiration from their color schemes, patterns, and symbols, incorporating them into my art.

Additionally, toys from the millennium era, such as Barbie and Polly Pocket, serve as another source of inspiration for me. The memories of my childhood and elements from these toys are ingeniously applied in my works, creating a unique atmosphere and emotion.

Aside from visual inspiration, I also enjoy the storytelling effects of comic paneling. O.schrauwen’s graphic novels have left a deep impression on me, with their intriguing paneling and character depictions, coupled with beautiful visuals. This has motivated me to explore the aspects of storytelling in my creations.

Moreover, I am drawn to feminist artist Kiki Smith. Her artworks focus on women’s themes and have provided me with significant insights into female-centered narratives. In my creative journey, I also aspire to express the strength and value of women through art, encouraging viewers to contemplate this topic more profoundly.

Some of the artists I admire include Kosuke Ajiro, B.B. Cronin, and Edward Gorey, they have all influenced and inspired me in various ways.

How would you describe your style? Would you say that it has changed over time?

I believe my style is vibrant and narrative-driven, and colors play a crucial role in my artwork! Comparing to a year ago, my style has undergone significant transformations. While I have retained some of my previous painting habits (such as using bright and vivid pinks abundantly in my compositions), I now focus more on storytelling through intricate details in my artwork. Lines and shapes have also seen many changes, and I believe my style will continue to evolve over time.

If adventure and making mistakes can bring freshness to the artwork, sticking to a fixed style can lead one into a comfort zone, mechanically producing similar images repeatedly, which can become dull in the long run. I used to think that maintaining a consistent style would make me look more professional as an illustrator, so I insisted on using the same artistic approach. However, this led me into a trap: even though I had a cohesive portfolio, it limited the possibilities of my style.

Now, I’m inclined to see each attempt as a new adventure. Only by fearlessly making mistakes, continuously experimenting, and learning from them can I bring fresh elements to my artwork and set myself apart from others.

What does winning the Batsford Prize mean to you?

Winning this award is a significant recognition of my creative work, and I was genuinely thrilled to hear the news! I have decided to donate the prize money to a charity that supports women’s rights, as I want to make a small contribution towards improving the living conditions for women. Overall, this has been a joyful and profoundly meaningful experience for me!

After you have completed your studies, what do you see yourself doing next?

Since my student days, I have worked as a freelance illustrator. After graduating, I continued to embrace the identity of a freelance illustrator, but also faced challenges that were absent during the dreamy days of student life: high living expenses, busy trivialities, and an unstable, chaotic lifestyle.

I aspire to approach reality with a positive and optimistic outlook, seeking a balance amidst the chaos. So, I strive to firmly grasp the helm in the vast sea of opportunities and steer towards my desired goals. In the future, I wish to create more artwork from a female perspective and explore diverse creative domains, such as ceramics, zines, printing, sculpture, and more. Additionally, I hope to receive more illustration commissions, collaborating with brands, advertising agencies, and publishing houses.

Life became more tumultuous after graduation, yet it also felt liberatingly free.

Check out more of Megan’s work on her instagram and her website.

ABOUT THE BATSFORD PRIZE

The Batsford Prize is an annual award open for undergraduate and postgraduate students in the fields of applied art and textiles, fine art and illustration. View the winners and runners up of this year’s award here. The theme for the Batsford Prize 2024 will be revealed shortly…

Interviews for the other winning categories are available to read here:

Artist Interview: Alivia Hoy, Batsford Prize 2023 Fine Art Winner
Artist Interview: Pia Elliot, Batsford Prize 2023 – Applied Arts and Textiles Winner
Artist Interview: Forest Xiao, Batsford Prize 2023 – Children’s Illustration Winner
Artist Interview: Ziyi Wang, Batsford Prize 2023 – Chairman’s Prize Winner