"Beach Bodies: The Dysmorphic Abstractions of Virginia Broersma," by Grace Linden, Peripheral Vision, Issue No. 1, 2016

 “Virginia Broersma at The Lodge”, Review by Peter Frank, Artillery Magazine, May/June 2016

"Virginia Broersma: Dithyrambic", Catalog essay by Grant Vetter for solo exhibition at Autonomie Projects, September 13, 2014




"A Painter and a Performance Artist walk into a bar...", by Amy Kaeser, Art and Cake, June 10, 2017




"The Ecstasy of Mary Shelley at LACE", review by Claire de Dobay Rifelj in CARLA, January 26, 2017

"The Ecstasy of Mary Shelley", review by Ezrha Jean Black, Artillery Magazine, January 12, 2017

"The Ecstasy of Mary Shelley", preview by Elenore Welles in ArtScene and Visual Art Source, January 2017 




I’m not sure when exactly it started - probably as a kid, and then it got locked into its permanent spot in my psyche as a teenager. The awareness of what other people think about my appearance and its influence over my feelings about my body has been lurking most of my life. Kids at school, men on the street, my parents’ ideals - my image of my own body has always been linked to what others think of me and their standards. Sorting this out in relationship to and through painting has been the bedrock of my work in the studio.

I work with the image of the human form to disrupt the power structures of the gaze and convention when it comes to the presentation of the body. Deviation and invention in the way I paint the figure act as tools to remove the usual cues for beauty and normalcy and to have the body considered on other terms. I manipulate the visual representation of a person to regain agency in how I choose to present myself and the body.

In my latest series of paintings, I mine my personal history for the moments that shaped my perception of what was and wasn’t appropriate about the body. Fleshy forms twist and contort themselves into impossible arrangements, suggesting the lengths we go to in order to satisfy the expectations of others.