(1931-1998) is one of the most accomplished and versatile Canadian artists. She achieved a level of commercial and critical success in her lifetime that was exceptional for a woman in her era in a male-dominated field. 

Wieland established new benchmarks for what a woman artist could achieve. Notably, she was the first woman artist to have a solo exhibition at the National Gallery (Ottawa) in 1971.

Many of her innovative creations predate similar works by woman artists of the late 20th century - Tracey Emin's crotchet works are one of several examples. 

Beginning in the 1960s, Wieland explored the role of women, the body, nationalism, and relationships through various media. She was a prolific illustrator and created many intimate works on paper that mocked typical depictions of women in visual culture. Wieland was also unafraid to create erotic imagery from a woman's point of view. 

This intimate and impish drawing serves as a sly glimpse into Wieland's inner world, revealing her dark and mischievous edge through a cartoon-like aesthetic. In this work, an animated figure stands in a domestic setting, self-flagellating at the dinner table. The drawing elicits a range of reactions: amusement, unease, and perplexity-leaving the viewer to question the mysterious and uncanny scene unfolding before them.

Like the best of her work, "Self-Flagellation with Fruit" explores complex themes through amusing iconography and a clever dose of humor.

Joyce Wieland's works can be found in numerous public collections across Canada including the  (London) and the Art Gallery of Ontario (Toronto), to mention a few. 

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"Untitled" aka "Self-Flagellation with Fruit"

Canada, c. 1985

Pencil and watercolor on paper

Signed by the artist

6"H 9"W (work)

11.75"H 14.75"W (framed)

Very good condition.