Figurative and Fearless: Q+A with Sharon Duymel

Art has long been a vessel for voicing the unseen and unheard, and few artists embody this ethos as powerfully as Sharon Duymel. Through layered compositions, intimate figures, and a raw material sensibility, her work navigates the delicate space between vulnerability and agency.

Self Portrait, 2022

In this Q&A, we meet Sharon Duymel. We ask about her deeply psychological practice, uncovering how personal experience, feminist perspectives, and an instinctive connection to materiality shapes her vision. From early moments of recognition in her MFA journey to the subconscious processes behind her figurative choices, Duymel offers insight into what drives her work, a quiet yet resolute voice carving out space for narratives often left in the shadows.

Your work explores the struggle of being unheard. Can you share a pivotal moment that shaped this focus in your practice?

Yes, actually. This was during a critique with my supervisors at Whitecliffe, quite early on in my Masters of Fine Art. My female supervisor was describing what she perceived was driving my practice and very plainly pointed out that this is the problematic space that I am trying to explore through my work. I found it very insightful and felt she was very perceptive. It has most definitely helped me to develop my work.

You often use the female form to translate interior emotions. How do you decide on the figures and compositions in your work?

Because I struggle to speak about my emotions, I don't make conscious decisions about this, I just find myself drawn to particular figurative gestures. I subconsciously search for poses that express my inner conjecture. When I get a visualisation of what I feel this is, I then curate the composition. I find using my daughter directly connects to my own familial relationships and experiences.

Your art is deeply psychological. How do you approach balancing vulnerability with artistic expression?

I would say, after having completed a number of self portraits, I developed my work using figures other than myself, precisely in aid of balancing that vulnerability. This is my life. But spoken through a vessel that is not mine, somewhat removed, this is probably part of me still deferring my voice, in some way. I do find balancing this vulnerability quite difficult.

Feminist themes are central to your work. How do you see your art contributing to conversations about female agency today?

There is a very loud uprising of feminist energy in our current contemporary world. I would like to think that my contribution would be from a strong “feminine” perspective of real lived experience, perhaps a less contemporary experience, the good and the bad. I still have a lot more to say!

What role does materiality play in your practice? Do you find certain mediums more effective?

This is a really important part of my practice for me. I am drawn to a natural palette, especially to paint the flesh. I only use oil paint because I really enjoy pushing and pulling the paint until it does what I want, most especially for the figure. A part of this also is using the raw Belgian linen, and using unstretched raw Belgian linen, being a natural compound with a desirable organic texture, I love when threads are hanging down etc. I feel all the elements in this materialistic equation produces a work that resounds with reality or real life or real flesh, real lived experience and emotion.