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Lover’s Eye VI by Emma Hapner, 4.5 × 4.5”, oil on canvas, framed.
Collector pays for shipping separately.
About the artist:
Emma Hapner’s bold monochromatic pieces interrogate notions of femininity and power, incorporating classical imagery to explore and complicate our relationship to womanhood. Blending the mythological and modern, she creates images that engage with and subvert historical tropes. Hapner uses traditional methods and references – she works primarily with oil paint and riffs on a host of historical forms, including medieval tapestries, Georgian lover’s eyes, and Renaissance triptychs and icons – to make decidedly novel work. Her figures are realistically rendered in impossible hues, a hot–pink palette that both embraces and defamiliarizes stereotypical femininity. Using shades of quinacridone red, magenta, and fluorescent rose, she creates images that are playful, sensual, and thrumming with internal power.
In her contribution to Gardens of Enchantment, Emma Hapner draws on the allegorical power of medieval tapestries to explore femininity, mythology, and interior worlds. Inspired by works like The Lady and the Unicorn, Hapner views Enchanted Gardens not as passive settings, but as potent spaces where desire and feminine agency quietly unfold. In Hapner’s work, the enchanted garden becomes a site of confrontation as much as beauty – a space where past and present merge, and enchantment becomes an intentional, radical act.
Lover’s Eye VI by Emma Hapner, 4.5 × 4.5”, oil on canvas, framed.
Collector pays for shipping separately.
About the artist:
Emma Hapner’s bold monochromatic pieces interrogate notions of femininity and power, incorporating classical imagery to explore and complicate our relationship to womanhood. Blending the mythological and modern, she creates images that engage with and subvert historical tropes. Hapner uses traditional methods and references – she works primarily with oil paint and riffs on a host of historical forms, including medieval tapestries, Georgian lover’s eyes, and Renaissance triptychs and icons – to make decidedly novel work. Her figures are realistically rendered in impossible hues, a hot–pink palette that both embraces and defamiliarizes stereotypical femininity. Using shades of quinacridone red, magenta, and fluorescent rose, she creates images that are playful, sensual, and thrumming with internal power.
In her contribution to Gardens of Enchantment, Emma Hapner draws on the allegorical power of medieval tapestries to explore femininity, mythology, and interior worlds. Inspired by works like The Lady and the Unicorn, Hapner views Enchanted Gardens not as passive settings, but as potent spaces where desire and feminine agency quietly unfold. In Hapner’s work, the enchanted garden becomes a site of confrontation as much as beauty – a space where past and present merge, and enchantment becomes an intentional, radical act.