Feminist
art work is becoming more and more fundamental in my practise. The unequivocal
attitudes on morality and womanhood are so inspiring and relevant; how women
are scrutinized and treated and the assumptions and expectations that are made
of them are all key aspects to my current ideas. The practise of collage is a
process that I think is really reflective; it is work that requires a
sensitivity and focus. I want my pieces to have a meaning that is forceful,
while maintaining that beauty, like the topless warriors from Ukraine, imagery
is really important. Whether it’s a cold dramatic display of kitchen utensils,
or evocative scenes described in a novel or sensitive embroidery; in the
kitchen, on the streets, in a gallery, the predilection for a sexual equality
is notable.
The work of Martha Rosler has been very
influential to my current practise. ‘Semiotics
of the Kitchen’ is a sarcastic comment on the role of women in the 60s. Semiotics meaning the study of signs,
Rosler uses herself as a ‘symbol’ of femininity, filming herself in the
traditional domain for a woman; the kitchen. In the film she proceeds to name
and display like a sign, the different elements that make up a woman’s
day-to-day existence; the kitchen utensils; ‘A’ for ‘Apron’ etc. Her movements are dark and
static, instigating nervousness from the viewer, as we watch her coolly and
violently demonstrate each utensil, deconstructing the classic image of a woman
in the kitchen. Her movements become even more aggressive as she transforms
even the safest objects into weaponry; brandishing each article with a silent
fury that suggests a breakdown is imminent. This darkly humorous piece of work
is such a simple but impassioned representation of the repressed housewife.
The particular piece that is so exciting is ‘Head Falling’ being interesting aesthetically because it appeared to be a sketch in ink,
but on closer inspection revealed to be a piece of embroidery. The effective embodiment
of the activity of ink through the slow process of embroidery is fantastic. The
subtle deception and enlightenment that the piece provides is so revealing and
rewarding. There’s also a tenderness and honesty that’s poignant in her
documentation of her relationship with herself, men and love.
Máximo Tuja’s work is really exciting. When I want an example
of modern day collage where the time and skills are evident, I look to ‘Max-o-Matic’. It reassures me that the time spent is worth
it. His pieces are so brilliant and
exciting to look at; a mixture of subtle and outlandish arrangements. I like
the blending and indistinct overlaying of black and white imagery like the
faint deception of Emin’s ‘Head Falling’ to obvious bold compositions. Despite
most of the work untitled and the content not about sexual equality, it is a
medium that I am infatuated with, when I see his work I am suddenly filled with
a desire to get out my scalpel and cut paper.
‘Cutters’ a group exhibition curates by James Gallagher, reaffirms that collage is back and better than ever.
Revolutionary Road is such a useful insight into the housewives in
the sixties, of course American life differed from the English, but when
considering the classic housewife I automatically refer to the character of
April Wheeler in Richard Yates’ classic.
The novel is a portrait of a failing marriage between a young couple in
their prime, both looking for extraordinary things. Frank and April; always the
first the first to throw a contemptuous remark about the suburban life, an
existence they outwardly resented and with a smug satisfaction believed they were
indifferent to, until they realise they are wholly immersed in this ‘ideal’ of
suburban life. The story is relevant not just for the setting, but for an
example of a marriage failing and animosity incited for want of a different
lifestyle. The dialogue is used brilliantly to reveal these concealed
resentments. We see the unravelling of the marriage largely
from Frank’s point of view and hear conversations that he imagines having with
his wife, cleverly being that they are derived from
what husband and wife may have been able to say to each other, had suburbia not
smothered them whole. April’s attempts to escape
this mundane life escalate from harmlessly taking part in an amateur dramatic
play that wasn’t as Frank put it “exactly a triumph or
anything..?” to
more dramatically inducing her own miscarriage. April had defiantly resisted suburbia’s
attempts to smother her dreams of escaping this suffocating lifestyle, so much
so that she died for her cause. The suffering of being a housewife may not be
physical and violent, but oppressive in its own way; a smothering of ambition
and freedom.
FEMEN
are the infamous group of topless Ukrainian female activists, who use their
bodies to stand defiantly for sexual and social equality in different parts of
the world. They describe themselves as soldiers; morally and physically,
provocatively fighting a war on discrimination standing proudly topless and
adorned with a symbolic wreath of flowers. Their naked bodies echo the women of
Amazonian tribes; their strength but also the sacredness of their form. For the
women of FEMEN; to be naked is to be free. These aren’t
meek compliant girls, these are women who have been beaten and imprisoned for
standing up for what they believe in; a new wave of feminism; women who are
undermining the patriarchal world all its forms from the church to the sex
industry ‘bringing neurosis and panic’ to the men by means of their intellect,
sexuality and agility. In Eastern Europe there is a disturbingly high rate of
sex workers; Kiev has become notorious for ‘sex tourism’. While the method of legislation; criminalising the
person who engages the services of a prostitute is unsuccessful in Ukraine only
radical measures; protests and shock tactics can make society change its
opinion and compel parliament to change the law. Their work is so admirable, compelling
me to want to rip off my clothes and stand with them. Their aim is to empower
women.
Subtlety is not an option; I want my work to be reflective of their struggles. It encourages me to make my
images bolder and more audacious. It doesn’t mean that the craft of collage has
to be dismissed, it is fundamental; it just means subtle mocking of the 60’s
American housewife isn’t the only source of commentary.
Bibliography
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