A short artist profile on my work ‘Skin and flesh’ features in Matter Matters: Surfaces, Antennae The Journal of Nature in Visual Culture, issue no. 43. Here’s some screen shots – the article can be freely downloaded here http://www.antennae.org.uk/
First work in progress test casts. As part of my new propositional sculpture installation bloodlines – I’m starting to test out various molds for swatches of fanciful ‘skins’. These ones feature suckers, valves and scales. The suckers casts are double-dipping for my new research into octopuses, using the teats/nipple molds from boobscape to create the mold (I have some larger ones in progress).
Really love the design of this full cover – with boobscape wrapping around the spine. I’m very excited for this book to be launched at Animaladies II, University of Wollongong, in December 2018, where I’ll also be an invited speaker – talking about my propositional new artwork: ‘porous boundaries: mammalian motherhood, biotechnologies and other entanglements’ which will be published in the Animal Studies Journal later in the year (hopefully). This book features an amazing line up of writings by scholars, artists, creative writers etc. See: https://www.bloomsbury.com/us/animaladies-9781501342165/ for the table of contents.
This episode of Knowing Animals features lynn mowson. Lynn has a PhD in fine arts. Lynn helps manage the University of Melbourne’s Human Rights and Animal Ethics Research Network (HRAE). She also runs their monthly ‘Knowing Animals’ reading group and is Vice Chair of AASA. We discuss lynn’s new book chapter. The chapter is titled ‘Making and Unmaking Mammalian Bodies: Sculptural Practices as Traumatic Testimony’. That chapter will appear in the upcoming book ‘Animaladies’ which is co-edited by Lori Gruen and Fiona Probyn-Rapsey.
Just finished up an article writing about my propositional large scale installation. One day I hope to install it – but it requires a lot of wall and ceiling space.
Abstract: This paper outlines my current sculptural research project in which the lives and deaths of dairy cows are entangled with multiple biotechnologies. My propositional sculptural installation brings together extant works such as fleshlumps, boobscape and slink, and new works, to represent the dairy industry, multi species nurturing, the environmental impacts of animal agriculture and the biotech innovations of in-vitro meat and bio-fabricated leather. These works are linked together by a web of interconnected fluids; urine, milk and blood. In this new work I hope to make the links between the diary industry and these extended concerns visible and visceral.