The human body has an infinite mutability. Prominent in evolution this allows the body to become a construct of an object with its ability to reform.

 

Throughout the 20th century, figurative art enhanced the attention of female purpose and representation. Male artists presented their own ideals without experience or understanding of being a woman and so the concept of a distorted view became physical. Mitchinson's work pays homage to the inaccurate ideals of females within art and offers entities that are messy, and modified, to find pleasure in both familiarity and abnormality.

 

Through strong influence of the surrealist movement, the work aims to create illusional fragments of a human being strung together as a united front. Using physical methods of distortion surrounding models, bodies became objects of pattern, shape and line, a non-human replica with misinterpretation often attached. Working with a variety of styles  on a large scale, oil paint is the main medium used to recreate sectional representations that were evident in the nature of works created by male artists, as a reclamation of the female figure in art. Married with the distortion to the figure, exploring familiarity and discomfort, one organism made up of many is now a vague notion of a whole human body. The changeability of the bodies within the works layers, explores a chosen censorship between what is seen and what is hidden.