clusters of boob-anemones below the boobscape [I plan to link the milk strands] – creates a link between my work on dairy cows & horrors of the agricultural industry and other work on the impacts of agricultural waste/run off on the oceans … and of course many other connections and meanderings … [they are meat eating animals, etc … etc…]
Check out this ‘boobscape’ the sea anemone – cribrinospsis olegi: (mine is a little less pretty, a little more bleached out and dried skin!)
Photo credit: Dr. Nadya Sanamyan, Russia: specimens from Kamchatka, NW Pacific
– and this fantastic shot of anemones at low tide Photography: A Davey https://www.flickr.com/…/adavey/3608367639/in/photostream/
Featuring the addition of ‘milky’ latex strings – quite a few more strings to make before this one is ready.
selvedge artists enjoying the VAMFF opening
And so off we went to the #VAMFF [Melbourne Fashion Festival] VIP preview … I made a small wearable sculptural object – a fleshlump necklace. Continuing my practice of re-purposing my sculptures, each time layering the subject of one onto the next – these lumps were made from off cuts from the Why Listen to Animals? speaking fleshlumps, which were in turn made from the full human-animal figure from beautiful little dead things. They were strung on a latex ‘milk’ string from boobscape (udder matters).
The new boobscape has finally finished – cast no.1 fairly simply with hanging rings for Selvedge #VAMFF, in March 2017. I will take some better photos when the sun comes out! In this work the boobscape has been laid out on the leather symbol and brings together the slink & boobscape series (slink: a type of luxury leather mostly taken from fetal calves). This boobscape makes the connection between the gendered exploitation of non-human animal bodies and the production of leather materials.
Below: photos just after pulling the cast off the mold. I love the rich colours of the reverse where latex meets plasticine – it would be great if it stayed so lush, the reverse of casts are always fascinating – this one reminds me of the sandstone rock formations around Sydney and fossils. When I laid it out on the table to powder it and pick of bits of non-skin – it felt like I was treating/tanning an animal skin, as the size and scale is like the whole tanned skin of a calf (the leather symbol coming from the simplification of the tanned skin of a large mammal).
Really pleased to find out I got an Australian Artist’s Grant to assist with costs to travel to Los Angeles to be part of SPOM: The Sexual Politics of Meat Exhibition at The Animal Museum.
The Australian Artists’ Grant is a NAVA initiative, made possible through the generous sponsorship of Mrs Janet Holmes à Court and the support of the Visual Arts Board, Australia Council for the Arts.