thoughts on boobscapes

How can the use of traumatic knowledge drive the development of new visual languages of empathy and testimony?  My recent sculptural series boobscape draws upon knowledges of the lives and deaths of dairy cattle. The madness and somewhat garbled hysteria of the witness, the repetitive compulsion to share and reveal, the necessity to communicate to another, and the inability or struggle to find shared language can also be the productive and generative force of animalady.

Skinning days. The bodies are taken down from their hanging position, and rubbed with talc, rubbing into the crevices, the pits, the groin. A sharp scalpel makes a cut through the skin, and then the process of skinning commences, pulling and rubbing down, pulling, stretching, releasing, it is an ugly task, on par with creating meat lumps from skulls. I’m sometimes callous with my little objects. Sometimes their grip on me is too strong, their tenderness fragility and exposure is too painful to bear. I become meat worker, butcher, in order to do this work, and I make amends [regrettably useless] with small objects. I counterbalance the butchering with the endless work of reparation.

Trauma and empathic witnessing erupt into the creative production processes, creating a divergence of methodologies and materialities, such as; tenderness, care, violence, damage and reparation. These contradictory methods are born not only from the witnessing but the trauma of bearing witness, and the maddening frustration of being positioned as the radical vegan freak, the out-there irrational-nutty-screw-loose-mushy-softy-weirdo-bunny-hugger-animal-lover.

Sometimes I stand at the edge of butchers shops, normally I rush by them, their smell envelops me, covers me in a layer of flesh and fatty tissue, the thick smell of cold death. I wonder at how normal this all seems to people, these lumps of bodies laid out, creatures whose lives were given and taken from them for a meal. How invisible yet visible the atrocity is.

boobscape alludes to milking machines, multi-breasted goddesses, boundary crossings and infringements between human and non-human animals, the abject and transgressive possibilities of milk and motherhood. boobscape is a monstrous amalgamation of paradoxical mammaries; breasts and udders, teats and nipples, droopy, full and empty. The pieces grow together on the wall like mold. They linger discordantly between beauty and horror, between empathy and erasure, in doing so they develop the abject languages of empathic relations with our nonhuman fellow creatures.

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Review – The Art of the Animal

A/Professor Annie Potts has just reviewed The Art of the Animal for Antennae: Journal of Nature in Visual Culture.  Of my work she says –  “The eeriest and and arguably most provocative artworks in this book appear in Melbourne-based Lynn Mowson’s essay “Beautiful Little Dead Things.”” [sic]  and “Slink resembles human-animal hybrid carcasses, drained of blood to a shade of yellow decay: strung up, the sculptures look like the grotesque bodies found hanging in slaughterhouses or meat lockers.  Through these stunning works Mowson succeeds in highlighting the tension between presence and absence, human and animal, reality and fiction”.

The review can be read online here.

fleshlumps – inanimate bodies

Just finished up the final piece for our m0wson&MOwson work at Why Listen to Animals?,   This fleshlump will ‘voice’ the grumpy meat.

at Liquid Architecture, Westspace, 7pm Thursday 20th October 2016

inanimate bodies – three sculptural fleshlumps performed, as if awakening in a butchers shop in the middle of the night. The fleshlumps were passed around through the audience to hold, caress, avoid, squirm away from and most importantly listen to. The three lumps voiced: a baby veal calf, an old dairy cow and a rotting steak. These works were developed as an act of creative madness and strategic anthropomorphism – futile attempts to make meat speak.

Making flesh lumps speak

‘Butchering’ an old work from beautiful little dead things to make some new [hopefully speaking] fleshlumps for ‘Why Listen to Animals’ Liquid Architecture/Westspace, 20 October 2016.

A little bit of strategic anthropomorphism at play here – channeling diary cows …