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Visible/Invisible: Art Competition

As part of this year’s Visible/Invisible campaign for the 16 Days of Activism Against Gender-Based Violence, we invited artists to submit creative works exploring themes of visibility, exclusion, and resilience. This call aimed to spotlight the experiences of gender-nonconforming athletes in sports, the realities of online gender-based violence, and the struggles faced by trans people, intersex communities, sex workers, and people with disabilities.

We are proud to showcase the 8 selected artworks that bring these issues to life with power, nuance, and creativity. Each piece tells a story—of resilience, exclusion, strength, and visibility—pushing us to challenge harmful norms and reimagine a more inclusive, just world.

Explore the winning pieces below and join us in amplifying these voices. Together, we are #UnitedToEndGBV.

[Image Description 1: A young woman with fair skin, and blue eyes is wearing black overalls. She is facing a wall and her left side is visible to the viewer. There is a pink teddy bear in her hand. She is looking at the wall, which has the head of a similar teddy bear protruding from it. There is a plant behind her.

Image Description 2: A young woman with fair skin, and blue eyes is wearing black overalls. She is facing a wall and her left side is visible to the viewer. There is a pink teddy bear in her hand. She is looking at the wall which has three heads, similar to those of the teddy bear she is holding, protruding from it.]

My Memories Are Coming for Me

By Ally Zlatar

Ally Zlatar is an artist, scholar and activist. She is the founder of The Starving Artist, an initiative that utilises creative voices as a way to create advocacy and systemic reform. She also founded The Starving Artist Scholarship Fund, which helps people access inpatient mental health treatment. Her “This Body of Mine” campaign explores migrant experiences through creative voices.

Ally Zlatar has received numerous accolades, such as the Commonwealth Innovation Awards (2023), UNWomen 30 for 2030 (2024), the Princess Diana Legacy Award (2021), King Hamad Award for Youth Empowerment (2022), and the Lieutenant Governor’s Community Volunteer Award from the Ontario Government of Canada (2023).

[Image Description: A trans kid in the back of their room being overwhelmed by the homophobic comments they get on their social media. These comments are portrayed by distorted symbols in red speech bubbles with a zigzag shape popping out of the screen of a smartphone.]

Untitled

By Ana Rodriguez

Ana Rodriguez is an animation student and self-taught artist based in Mexico. She is passionate about all creative expressions and tries to keep exploring and creating, challenging herself about new ways of learning. As a student of life, she appreciates its beauty and tries to portray what she sees and loves through her creations.

[Image Description: A blue hand holding a mobile phone shows a photo of a woman on public transport. On the right, AI is used to alter the image, leaving her in her underwear. Below, on a computer, blue hands upload the edited photo to sell it illegally.]

Lost Intelligence

By Berenice AM

Berenice AM is a Mexican illustrator and designer; her interests are mainly the construction of identity, human relationships, and cultural particularities. She has participated in group exhibitions of illustration and painting and has also collaborated with illustrations for textbooks and non-profit associations around the globe. Her piece titled “Lost Intelligence” reflects the violence exerted on women in digital media through the modification of their image with artificial intelligence without authorisation and for-profit purposes.

[Image Description: The central figure is painted with a mixture of warm tones like red, peach and pink and resembles the body of a woman. It is decorated with small yellow elements looking like flower petals and leaves that are arranged in rows along the silhouette. It has one exaggeratedly large eye with long black eyelashes. It has one distorted, blue, huge hand with three thick fingers and one distorted, blue, huge foot. Two smaller human-like figures are attached to the larger woman’s body’s stomach. They are connected by thick blue lines suggesting umbilical cords. The background transitions from a soft blue at the top to bright red at the bottom. The red background at the bottom of the painting has dark red strokes resembling blood clots.]

Birth

By Daria Lupan

Daria Lupan, an artist from the Republic of Moldova, uses oil and acrylic painting to capture the pervasive violence of our world that is so ingrained that it often passes unnoticed. Beginning her artistic journey in Moldova, Daria later spent two years in Italy before returning home. She has exhibited in Moldova, Romania, Germany, Italy and the UK.

Her paintings bring to light the subjugation and suffering endured by society’s most vulnerable, particularly women and children, who often become the scapegoats of sexual, social, and professional violence.

[Image Description: A close-up of a woman’s long hair in black and white, with strands of hair floating around. A pink rope symbolising suicide is tied at the end of the strands.]

Invisible

By Ezgi Şen Atiker

Ezgi Şen Atiker, who completed her education in fine arts, has participated in many international exhibitions and biennials. An expert in artificial intelligence and computational creativity, she opened an exhibition drawing attention to femicide using artificial intelligence for the first time in the world (Art Proficiency Thesis Exhibition, 2022). In 2023, she focused on femicide and gender equality with her solo exhibition titled “Femicide”.

[Image Description: This is a one-page black and white super panel comic. A text box in the top right corner reads ‘Kolkata metro, 2017’. It is a jam-packed train compartment with passengers of varied ages and genders. The page is divided into five panels, with the poles within the train compartment acting as separators. Text on the left-hand side of the page reading ‘LADIES’ indicates a section of the seats as reserved for women. At the centre of the page in a circular panel we see a hand grabbing patterned fabric, against a black background. A small rectangular panel that appears above it, has a set of horrified eyes within, indicating the woman becoming aware of groping hands. The woman who is harassed screams “Bo*****da” – the text in Bengali appearing on the top right section of the page. Another female passenger who appears in the top left section of the page reacts, with the text “Look at how she is dressed!” in a speech bubble. A woman towards the bottom left of the page is pointing to the crowd, at the perpetrator as he is slipping away, with the words “CATCH THAT MAN!” in a speech bubble attributed to her. In the bottom right corner of the page, an exchange unfolds between two bespectacled middle-aged men. One of them is saying “Chhee what disgusting language!”, as the other responds with “The metro is no longer for the Bhodrolok!*”. An asterisk at the bottom of the page reads ‘Bhodrolok’ – Bengali word for gentleman with caste connotations. A text box appears in the bottom left corner of the page which contextualises the contents of the image. The text reads: “In 2021, an online survey across metropolitan areas in India indicated that almost 56% of women who avail public transport reported being sexually harassed.” in the bottom left corner]

Sexual Harassment on Public Transport

By Manimanjari Sengupta

Manimanjari Sengupta is an illustrator and visual artist from Kolkata, India. They are a student in the MFA in Illustration and Visual Culture program at Washington University in St Louis.

They draw from their own lived experience to tell stories that challenge the narrative of shame and fear surrounding femme bodies and also explore questions of female desire and sexuality, identity and body image, and women’s participation in public space. They are endlessly fascinated by urban life, and visual reportage on cities through a feminist lens is a significant part of their practice. Their practice is informed by their educational background in Sociology and Law, and their professional experience in journalism and development research.

[Image Description: “Masking Reality” depicts a silhouetted figure standing firm amid swirling masks that symbolize societal expectations and labels obscuring identity. The figure raises a hand in defiance, resisting these imposed roles.

A vibrant flame glows within their chest, symbolizing inner strength, authenticity, and courage. The background transitions from shadow to light, reflecting a journey of self-discovery and liberation, celebrating the power of embracing one’s true self.]

Masking Reality

By Nicola Andreani

Nicola Andreani (1984) is an Italian artist based in Paris. In his personal projects, he merges reality and fiction to address social issues, employing watercolour, ink, and digital techniques. His art explores themes such as pacifism, human rights, feminism, and migration, aiming to engage the senses and inspire thoughtful reflection.

[Image Description: This is an image of a lady draped in traditional white cloth and long black open hair, holding a pair of breasts on a plate. She directs a powerful gaze at the spectator, as if challenging them with a question. The background has a blurred image of pillars from Raja Ravi Varma’s painting.]

The Artist (Docile Bodies Series, 15)

By Saraswathy K Bhattathiri

Saraswathy K Bhattathiri is an art historian, critic, artist, and educator based in Bangalore, India. Her writings have been published in various platforms, including Art & Deal Magazine, the Indian Contemporary Art Journal, Lalit Kala Academy publications, and Critical Collectives. A significant portion of her work focuses on issues concerning women, explored through feminist and gender studies frameworks, and expressed through interpretation of visual arts, film, and performance art.