Quite thrilled to be included in the line up for WEAD’s online exhibition feminist tEChnOart, thanks to curator/artist Isabella La Rocca.
Thrilled to be in such great company in this special edition of the Animal Studies Journal on Dairy. My paper discusses my current research and work in progress ‘bloodlines’. Download a copy.
The program is out, the book ‘animaladies’ is printed and ready to be launched at Animaladies II. I’m really looking forward to speaking about the developments in my work – ‘bloodlines: tracing paths from bodies to biotechnologies’.
It’s an amazing line up and I’m really proud to be an invited speaker among these scholars.
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/
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.
often my projects take on the issue of ‘wearables’ both as a performative act, and also to comment on the use of animals and their bodies in the fashion industry.
Top left: boobscape wearable for a performance at Psi2016 fleshy encounters
Top right: fleshlump neck-piece, made for Selvedge as part of Melbourne Fashion Festival, 2017
Bottom left: boobscape 3 casts each made in the shape of the leather symbol for Selvedge
Bottom right: experiments with textures for work on bio-fabricated fabrics for the work bloodlines
My new work is focusing on the relationships between the dairy industry (boobscape), the collection of ‘co-products’ such as foetal-bovine serum, placental tissues, slink leather from foetal bodies (slink), the demand of these foetal tissue and blood products in cellular technology in particular in-vitro meat and bio-fabricated leather. Using my pre-existing sculptures, and new forms, I will trace the connections between these industries, as well as continue my focus on the broader environmental impact of the dairy industry, in particular the leaching of excess nutrients into the waterways/water table.
Just started work on re-purposing some existing sculptures. Using the skins from boobscape – inverting breasts and teats, to create some small wall sculptures for the Vulva Project, curated by artist Rebeka Axon. It’s an interesting process, and very much a homage to those feminist precursors – it’s been almost 30 years since I first started teaching visual art / art history – and I remember the difficulties (pre-internet) of finding and incorporating the ‘cunt art’ of the 1970s such as the amazing Hannah Wilke’s – S.O.S. – Starification Object Series. 1974-82, and of course Judy Chicago’s Dinner Party.
Using the skins from these works, for me, brings the material meanings of slink and boobscape into this work, and further entangles those maternal material bodies.