In China, the term shèng nǚ, or “leftover women,” characterizes an unmarried woman beyond her twenties, comparing her to leftovers. While reading an excerpt of Leta Hong Fincher’s book Leftover Women: The Resurgence of Gender Inequality in China for my sociology class, I found it alarming that so many accomplished women feel pressured to marry, lower their standards, and even give up parts of their identity, to avoid being “leftover.” I became intrigued by the visual portrayal of “leftover women” in state-endorsed cartoons; after conducting searches in American and Chinese browsers, I found a repeated theme of the cartoons attributing a woman’s education, career, and standards in a partner as the reason for her singleness. Empowered by the absurdity of these narratives that belittle women for achievements that should be celebrated, I sought to depict a realistic narrative of a society that pushes the idea of marriage onto successful women until they succumb, even at their own expense. The woman I paint is so far ahead that society feels the need to confine her in outdated norms, expecting her to make sacrifices on her own identity and accomplishments. While this painting responds to the term “leftover women” in China, the idea of controlling women as they become more successful, independent, and educated remains globally relevant. I encourage the viewer to question the role and expectations society places on women regardless of the country, and how they as individuals in this network partake or resist these norms.
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