The Hidden Paintings Grandma Improved, Looking At You Looking At Us, depicts a pair of perky breasts painted onto a black backdrop with the sentence "Looking At You Looking At Us" inscribed below.

A continuation of a series of smaller works (oil paintings on board also portraying body parts with text), this painting anthropomorphises the anatomy it depicts. Meaning manifests as a flirtatious absurdism. The painting also seems to be jumping out in defiance of a form of censorship and an underlying feminist psychology ensues.

“Breasts are a dominant motif in Prouvost's work, appearing in surprising, absurd, humorous, and sensual combinations. In terms of their design, they echo the iconic Madonna Lactans, a popular theme in the Middle Ages and Renaissance, as exemplified by Madonna and Child (ca.1510-20) by the Dutch artist Gerard David. The breast is exposed and clearly full of milk for the suckling baby. Laure Prouvost often presents the breast as an object detached from its usual context, sometimes in burlesque fountains with water flowing from the nipples, as in We Will Feed You Big Time (2018) and We Will Feed You Together Fountain (For Global Warming) (2019). Breasts were also a significant motif for the surrealists.”

- Eva Klerck Gange, In Your Hands We Levitate, 2022

The Hidden Paintings Grandma Improved, Looking At You Looking At Us, depicts a pair of perky breasts painted onto a black backdrop with the sentence "Looking At You Looking At Us" inscribed below.

A continuation of a series of smaller works (oil paintings on board also portraying body parts with text), this painting anthropomorphises the anatomy it depicts. Meaning manifests as a flirtatious absurdism. The painting also seems to be jumping out in defiance of a form of censorship and an underlying feminist psychology ensues.

“Breasts are a dominant motif in Prouvost's work, appearing in surprising, absurd, humorous, and sensual combinations. In terms of their design, they echo the iconic Madonna Lactans, a popular theme in the Middle Ages and Renaissance, as exemplified by Madonna and Child (ca.1510-20) by the Dutch artist Gerard David. The breast is exposed and clearly full of milk for the suckling baby. Laure Prouvost often presents the breast as an object detached from its usual context, sometimes in burlesque fountains with water flowing from the nipples, as in We Will Feed You Big Time (2018) and We Will Feed You Together Fountain (For Global Warming) (2019). Breasts were also a significant motif for the surrealists.”

- Eva Klerck Gange, In Your Hands We Levitate, 2022

The Hidden Paintings Grandma Improved, Looking At You Looking At Us, depicts a pair of perky breasts painted onto a black backdrop with the sentence "Looking At You Looking At Us" inscribed below.

A continuation of a series of smaller works (oil paintings on board also portraying body parts with text), this painting anthropomorphises the anatomy it depicts. Meaning manifests as a flirtatious absurdism. The painting also seems to be jumping out in defiance of a form of censorship and an underlying feminist psychology ensues.

“Breasts are a dominant motif in Prouvost's work, appearing in surprising, absurd, humorous, and sensual combinations. In terms of their design, they echo the iconic Madonna Lactans, a popular theme in the Middle Ages and Renaissance, as exemplified by Madonna and Child (ca.1510-20) by the Dutch artist Gerard David. The breast is exposed and clearly full of milk for the suckling baby. Laure Prouvost often presents the breast as an object detached from its usual context, sometimes in burlesque fountains with water flowing from the nipples, as in We Will Feed You Big Time (2018) and We Will Feed You Together Fountain (For Global Warming) (2019). Breasts were also a significant motif for the surrealists.”

- Eva Klerck Gange, In Your Hands We Levitate, 2022

The Hidden Paintings Grandma Improved, Looking At You Looking At Us, depicts a pair of perky breasts painted onto a black backdrop with the sentence "Looking At You Looking At Us" inscribed below.

A continuation of a series of smaller works (oil paintings on board also portraying body parts with text), this painting anthropomorphises the anatomy it depicts. Meaning manifests as a flirtatious absurdism. The painting also seems to be jumping out in defiance of a form of censorship and an underlying feminist psychology ensues.

“Breasts are a dominant motif in Prouvost's work, appearing in surprising, absurd, humorous, and sensual combinations. In terms of their design, they echo the iconic Madonna Lactans, a popular theme in the Middle Ages and Renaissance, as exemplified by Madonna and Child (ca.1510-20) by the Dutch artist Gerard David. The breast is exposed and clearly full of milk for the suckling baby. Laure Prouvost often presents the breast as an object detached from its usual context, sometimes in burlesque fountains with water flowing from the nipples, as in We Will Feed You Big Time (2018) and We Will Feed You Together Fountain (For Global Warming) (2019). Breasts were also a significant motif for the surrealists.”

- Eva Klerck Gange, In Your Hands We Levitate, 2022