Leicester Gallery, De Montfort University
12 July – 6 September 2025

Alexis Soul Gray, Alison Jones, Annabel Dover, Athen Kardashian & Nina Mhach Durban,
Caroline Walker, Caroline Zurmely, Cary Kwok, Cathy Lomax, Christine Stewart,
Erica Eyres, Eugenia Cuellar, Fiona G Roberts, Gemma Browne, Hilde Krohn Huse,
Jennifer Merrell, Jennifer Caroline Campbell, Karla Black, Kate Murdoch,
Katherine Allen, Lindsey Bull, Lisa Milroy, Lucienne Cole, Lucy Brown,
Madelynn Green, Mary Modha, Matilda Moors, Michael Fullerton, Mo Throp,
Paul Kindersley, Rebecca Parkin, Rose Wylie, Rosemary Cronin, Ruth Heaton,
Sally Kindberg, Sarah Doyle, Stacy Greene, Ty Locke, Xingxin Hu

Makeup is often described as an art in glossy magazines and coffee table books. But how does art deal with makeup? The connections, between making-up and artmaking are apparent, but makeup’s connection with femininity problematises it, connecting it to artforms and aesthetics rich in colour and decoration which have historically been considered trivial and unworthy of serious academic interest. Beyond this, patriarchal societies have always had a complex relationship with makeup; ill at ease with its role in beautification, deception, and sexual allure, but appreciative of a 'naturally' made-up female face. Consequently, for long periods of history makeup has been a taboo in polite society.

Makeup is painterly and symbolic, with an ability to conceal and transform appearance. It is a joyful symbol of female emancipation but can also be a reminder of our subjugation to the dictates of a patriarchal culture.

Inspired by the formal transformative qualities of makeup, alongside its creative qualities, role in ritual, and position in the commodification and codification of gender and race, Blusher unashamedly shines a light on this versatile medium, with work by artists that showcase makeup’s many meanings in a variety of media.