Sultry and powerful are two adjectives to describe the vignette edged photorealistic portraits of Russian born painter Mila Alexander. Reflecting their maker, each word indicates a degree of managed self-awareness which manifests itself in the feminine strut of the artist and the confident depiction of her muses. A fiercely independent mind with a paintbrush as sharp as a razor, her brown eyed stare observes those she encounters. Searching for attitude and beauty, the artist bypasses vacant good looks in favour of interesting and compelling models.

Painted portraiture comes with a complex set of obstacles to navigate; capturing a likeness is the foundation, though communicating the thoughts on the mind of the sitter is an altogether different skill. With roots in status and cultural currency, once upon a time this artistic genre was the reserve of the elite in society. Only kings, queens and the upper classes could afford the privilege of commissioning a painting of their features, to ensure their faces were remembered. In true subversive style Mila Alexander hand selects her own subjects whose air fits her brief and agenda. Identifying strong females through social media and celebrity status, many have talents for performing and are thus accustomed to scrutiny; the result are portraits showcasing inner strength laced with the vulnerability of those who are judged.

The first body of original works presented at Wyecliffe depicted the singer Chloe Jasmin, who found a national platform auditioning for the X-Factor. The perfect choice for Alexander, her sitter was recognised for her fragile yet sensual presence used to accomplish compelling renditions of elegant lyrics from the 20th century. An old soul in a contemporary time and as platinum as Marilyn Monroe, the artist styled her subject in a cashmere top left open to expose the lace underwear below. Poised with lit cigarette in hand, Jasmin wears a black eye mask with Playboy bunny ears. Made infamous by Hugh Hefner, the ears have been appropriated by many artists to communicate sexuality and power. Each of the portraits was named with a different first name such as Clarisse and Carmen, to highlight the many roles and personalities comprised within a modern female, were purchased immediately by a series of astute collectors, including respected Spanish actor Antonio Banderas who purchased two works for his private collection.