A qualitative research-from-creation based thesis studying what possible generalizations may be found of the female gaze when the artist collaborates with the model in order to produce one single image. Using participants Esme, Kayley, Jess, Catherine, Steph, Deborah, Noelle, Marie- Josée and Caroline, the research was to answer the following question: through the study of the painted selfie, what new information may be revealed in order to understand and define the female gaze. The research consists of each participant providing the study with a selfie and the researcher/artist then using the selfies as each portrait’s reference of study. General themes retrieved from the analyzed data regard: the rendering of the female image, comparing the concepts of a male gaze with a female gaze, the practice of selfies, and how the self compares to the media’s fabricated standards for society. Conclusions drawn from the study suggest the reform of the male gaze concept, a reflection placed upon how the self relates to society, and how art and education may facilitate critical thinking using the concept of the gaze. Rather than the gaze being defined by gender, the research suggests the gaze be defined by how the gaze functions: consumer gaze versus an observer gaze
