A storm has washed these heroines, Hellions and phallic goddesses out from their puritan suburban homes. The rise of sea water has rose so suddenly that it left no possibility of escape. She’s too beautiful to care, too disaffectedly wanton to resist.
These piratesses born from sampling popular sources such as fashion magazines find themselves in a banal domestic chaos, whose precarious nest has become unraveled by the summons of the merciless sea. See these frenzied sirens pillage for booty with a bawdy sense of empowering irony. Fragmentary compounded narratives pervade Doe’s work which integrates various dichotomies, past and present, outdoors and indoors, unites the aggressive and the benign , the sexual and the modest, resulting in images of protrusion and surplus, a body unbound. What is at stake in Does’ work relates to the question of who is allowed to picture what in the territories of representation after 3 decades of women’s studies.
The choice of creating images of women pirates is crucial for its symbolic quality as a murderer, a colorful hero of fantasy adventures, a symbol of resistance to capitalist systems and the personification of its worse imperatives, the pirate is an ambivalent fractured symbol. This split within the image of the pirate itself is reflected in Doe’s work, which- at once is sexist and feminist, real and surreal, grotesque and seductive- has a critical depth which is initially obscured by its pop qualities and lascivious emotive punches. In his 1866 painting, Origin of the World, Gustave Courbet put the male gaze on display, with its focus on the female genitals. Doe’s fiercely independent women pirates are now in control of that gaze, empowering female viewers while putting male spectators on edge.