Exciting day – first cast off the new 150cm mould. I loved how the inverted cast looked like a mini-boobscape, it’s fantastic when the work has resonances with previous works. The cast was easily demoulded with just a little split at the base, and at 150cm has quite a presence. The texture is subtle and yet evocative. Now time to start making more – it takes a minimum of a week to make a cast, and each will be individualised along the way. Hoping to amass a large number of them to play around with install possibilities.
I’ve been working on some testers for OktoLab recently, and I’m now ready to make the moulds for this project. Key themes are emerging regarding the peculiarities of Octopus breeding, ‘motherhood’ and current attempts to factory farm octopuses. At this stage I’m envisaging an installation that includes a multiplicity of tentacles and eggs – but things might change as I produce the final casts.
Taken these bird cages out of circulation- going to work on them for my utopian project – The Museum of Forgotten Objects. Envisaging a world that no longer understands what these were used for.
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.
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).
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.