From Yoko Ono to Frida Kahlo, from Louise Bourgeois to Artemisia Gentileschi, women have long been capturing the unvarnished truth about their own bodies – and that’s why my novel Female, Nude weaves them into the plot

‘If you want to paint, put your clothes back on!” That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: “What does it mean for a female artist to be both the artist and the life model?” Or as she put it: “Both image and image-maker?”

The female nude, as depicted and objectified by the male artist, has dominated western art for centuries. Despite decades of feminist efforts, that interaction between the great male genius and his female model – sometimes muse – remains a subject of perennial fascination. To enter a gallery, or to open a university textbook, is to be confronted with a parade of idealised naked females by male artists from Rubens, Titian and Botticelli to Picasso and De Kooning.

A traumatised Nigerian woman seeking asylum in Britain meets a kindred spirit in Joy Gharoro-Akpojotor’s evocative tale

This poignant drama was clearly made on a dinky budget that probably stretched to barely more than crisps and squash on the catering tables. And yet thanks to subtle, considered performances, a finely milled script, inventive craftsmanship and a deep sense of empathy for the precarious lives of refugees, it packs a considerable wallop.

The story starts with reticent, clearly traumatised Nigerian Isio, played by Ronke Adekoluejo, who is subtle throughout in a role that could easily have been done with too broad a brush. Isio arrives at a women’s shelter for asylum seekers in the UK where she is assigned to share a room with Farah (a luminous Ann Akinjirin), who is already a few steps ahead of Isio in the legal process that permits applicants to appeal twice. (If the second appeal isn’t approved, applicants are immediately deported.) Although Isio is a bit standoffish at first, gentle Farah shows her roommate the ropes, warning her not to trust the guards, to watch out for the tough women dealing drugs in the yard, and to try not to lose hope.