The Pains of Pregnancy: A Painter's Quest for Connection and Beauty
As I stand in the studio of Tom de Freston, surrounded by his wife Kiran Millwood Hargrave's pregnant forms, I am struck by the weight of emotion that hangs in the air. The couple has endured seven pregnancy losses before finally welcoming their daughter Coral, but it is these earlier experiences that have informed the artist's latest works. De Freston's paintings, on display as part of his first major exhibition at London's Varvara Roza Galleries, are a poignant exploration of grief, hope, and connection.
The inspiration for these works lies in the Renaissance era, specifically in the Poesie series by Titian, which fetishize the naked female body. De Freston is drawn to the dynamic between the male artist and his female muse, but he seeks to subvert this power imbalance. "You're trying to get to this figure, or to their unseen internal world," he explains. The subject's unreachability is the whole point.
However, unlike traditional depictions of the female form, these paintings are not posed. They are based on photographs taken by de Freston in his domestic space throughout Kiran's pregnancies. This intimacy and vulnerability are evident in the work, which is described as "worshipful" and "considered." Millwood Hargrave notes that the paintings "are not sexualized," but rather exude a sense of love and respect.
The couple's relationship is one of mutual collaboration, with Kiran providing a voice that is "hugely present in the work." De Freston has spoken about his own grief and struggle to process the losses they experienced. These paintings were initially intended as a personal exercise in empathy, but ultimately became a way to share their story with others.
The rarity of explorations of pregnancy and miscarriage in visual art is striking. De Freston's works feel like elegies, capturing the complexity of emotions that accompany these experiences. As Kiran puts it, "They do feel like mournful paintings." Yet, despite the weight of grief, there is a sense of hope and wonder in these works, as if the artists are seeking to capture the magic of pregnancy and the possibility of new life.
The arrival of Coral has brought a profound shift in de Freston's perspective. He notes that having a child has forced him to confront his own individuality and the importance of his artistic vision. "There was a sudden shattering of the lie of the individual," he says. The experience has been both exhilarating and humbling, as if he has gained a new sense of connection to the world around him.
De Freston's paintings are more than just a reflection of his own emotions; they are also a testament to the power of art to capture the human experience. As I leave the studio, I am struck by the beauty and vulnerability that pervades these works. They are a poignant reminder of the importance of empathy and connection in our lives.
As I stand in the studio of Tom de Freston, surrounded by his wife Kiran Millwood Hargrave's pregnant forms, I am struck by the weight of emotion that hangs in the air. The couple has endured seven pregnancy losses before finally welcoming their daughter Coral, but it is these earlier experiences that have informed the artist's latest works. De Freston's paintings, on display as part of his first major exhibition at London's Varvara Roza Galleries, are a poignant exploration of grief, hope, and connection.
The inspiration for these works lies in the Renaissance era, specifically in the Poesie series by Titian, which fetishize the naked female body. De Freston is drawn to the dynamic between the male artist and his female muse, but he seeks to subvert this power imbalance. "You're trying to get to this figure, or to their unseen internal world," he explains. The subject's unreachability is the whole point.
However, unlike traditional depictions of the female form, these paintings are not posed. They are based on photographs taken by de Freston in his domestic space throughout Kiran's pregnancies. This intimacy and vulnerability are evident in the work, which is described as "worshipful" and "considered." Millwood Hargrave notes that the paintings "are not sexualized," but rather exude a sense of love and respect.
The couple's relationship is one of mutual collaboration, with Kiran providing a voice that is "hugely present in the work." De Freston has spoken about his own grief and struggle to process the losses they experienced. These paintings were initially intended as a personal exercise in empathy, but ultimately became a way to share their story with others.
The rarity of explorations of pregnancy and miscarriage in visual art is striking. De Freston's works feel like elegies, capturing the complexity of emotions that accompany these experiences. As Kiran puts it, "They do feel like mournful paintings." Yet, despite the weight of grief, there is a sense of hope and wonder in these works, as if the artists are seeking to capture the magic of pregnancy and the possibility of new life.
The arrival of Coral has brought a profound shift in de Freston's perspective. He notes that having a child has forced him to confront his own individuality and the importance of his artistic vision. "There was a sudden shattering of the lie of the individual," he says. The experience has been both exhilarating and humbling, as if he has gained a new sense of connection to the world around him.
De Freston's paintings are more than just a reflection of his own emotions; they are also a testament to the power of art to capture the human experience. As I leave the studio, I am struck by the beauty and vulnerability that pervades these works. They are a poignant reminder of the importance of empathy and connection in our lives.
. It was really emotional for me too, I felt like I was reading Kiran's diary through Tom's paintings. What struck me is how beautiful the pain is, it's not something you usually see in art but Tom has captured it so beautifully. The fact that he's using his wife as a model and getting her input on the work is really inspiring, it shows the connection they have as artists and partners. I love how he's subverting the traditional male artist/muse dynamic, it's refreshing to see someone breaking free from those rules 
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De Frestons paintings are like a cry in silence, theyre so raw and honest I wish more artists would tackle this sensitive subject matter it needs to be talked about more 
Tom de Frestons paintings are literally giving me all the feels! its like he's tapping into this deep sense of human emotion that is just so raw and real...like i can almost feel the grief and the hope and the connection through his brushstrokes. and how cool that he and Kiran worked together on these pieces - its like they're having this beautiful conversation with art 
! Tom de Freston's latest works are so raw and emotional, it's like you can feel the weight of his grief and hope right in front of you 
. And I love how he's subverting traditional depictions of the female form by using Kiran as his muse - it's all about connection and intimacy, not objectification 
. And can we talk about how rare it is to see explorations of pregnancy and miscarriage in visual art? 
. I'm definitely checking out more of Tom's work - he's a genius artist who's not afraid to tackle tough topics 
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de freston's use of photography is really interesting - taking pics of kiran in the house during her pregnancies and stuff... it feels super intimate 
like, he's not trying to objectify kiran or anything... just capturing this beauty and love and connection between them 
so for de freston to be tackling that in his work is amazing 
she's got her own voice in the art which is really cool 
. It just goes to show that even in the darkest moments, there can be beauty and hope 
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. The way the art isnt sexualized, just pure love & respect for each other, is really beautiful 