“ANIMALADIES, is a term coined by Assoc. Prof. Fiona Probyn-Rapsey with the intention to reframe stereotypical cultural connections between madness, species, race and gender. Social marginalisation of animal advocates, animal carers and animal studies scholars is resisted by this exhibition. Artists reveal how the ‘crazy love’ of the animal advocate for non-human species can reveal forms of courageous wisdom and persistence in the face of impossibilities and improbabilities.”
ANIMALADIES July 11- July 22, 2016, Glebe, Sydney
installation shots for the Animaladies catalogue – still more casts to come
first cast off the new mould today – graduating boobs, from petal like growths to full boobs – hung in the middle of this formation. Added some new ‘milk’ strings [which will be embedded in the teats]. hanging the work low to the floor, like over-full udders weighed down … continual struggle to work with the ugliness of this piece. Tomorrow I should be able to see the first cast from the large udder mould … and started another new mould yesterday.
Starting to get enough forms to play around with on the wall. excess and edges, boundaries and non-boundaries. In our collaborative meet up* this week we discussed the (creative) permeable boundaries and slippages between the flesh of non-human and human animals. The work is fragmentary, many pieces, identifiable as non-human animal, human animal and something between or other to those categories, and I think our presentation will also take this course (or not).
* Collaboration with creative writers Hayley Singer and Sue Pyke for fleshy encounters: performing response-abilities in an era of climate change, Performance Studies International #22
Cast 1b – boob-scape cast in coloured latex. Udder form 2a in progess with latex milk thread test. Slow progress in material driven iterative practice. Moulds made for larger udder series 3 yet to be cast.
First cast from mould no.2. Image on the left shows the work slightly padded – and it has produced a lovely udder shadow on the wall.
First cast from the clay mould, the udders were too small for the ceiling. Working on human scale is a disorienting phenomena and appears too small and delicate. These seem to want excess and multiplicity – but I’ll work with and against that. This piece worked better on the wall. Some initial fiddling with milk ‘strings’ some stained with a red hue, some spilling across the floor.
Having way too much fun with the relationship between udder and utter [a word I tend to utterly overuse]. This clay mould is ready to cast. I really enjoy the strings in the background looking like thin streams of milk – I’d been thinking more elaborately of streams of white silicon – but maybe strings are able to do the job just as effectively.
Some small-scale work-in-progress test casts for the Animaladies Exhibition in July. The work continues my focus on the human and non-human animals and of course – dairy cattle.