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.
Quite thrilled to be included in the line up for WEAD’s online exhibition feminist tEChnOart, thanks to curator/artist Isabella La Rocca.
Making plasticine moulds for latex fabric samples. work in progress for large scale sculpture installation linking the dairy industry to biotechnology.
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.
Top row left to right: meat flaps, wax, pigment, hoop. hairy hoop latex, hair, hoop. little hoop, latex and hoop. hairy hoop II, latex, hair, hoop. leaky hoop, latex, string, hoop. battle of the cxxt (under my skin), newspaper clippings from 16/17 June 2018, latex
A number of small works made for the vulva project, curated by Rebeka Axon. meat flaps is made from previous fleshlumps. The latex vulvas are made from boobscape udder pieces. battle of the cxxt (under my skin) was made in response to the recent rape and death in Melbourne, and the surrounding debates about women’s freedom of movement, men’s curfews etc. The text was deliberately taken from other headlines from the weekends paper, with only one clipping referencing the actual incident. It is a low tech cut and paste, embedded in a latex skin, as the latex ages and yellows the words will be obscured.
Contributors: Rebeka Axon, lynn mowson, Rosa Voto Ustrale, Alessandra Barone, Fiona Haasz, Jessica Lovell, Kaitlyn Elsegood
This project brings together a group of woman who have stitched, sculptured, drawn, collected and shared stories of vulvas; stories which are personal, social, humorous, cultural, historical and deeply political.
The initial framework, so to speak, was the embroidery hoop; using any media the artists were to constrain their works to this object. The hoop functions as an homage to the ‘craft’ of feminist art practices, crafty women, sewing circles and female spaces. The hoop served to keep us centred, to circulate our thinking, as we met to laugh, drink, eat and discuss our feminist foremothers, contemporary body art, blogs, sites, words, language and performance.
As these discussions spiraled outwards the hoop has, for some, been discarded as a physical object, however it has remained our collaborative methodology.
Presented by the launching pad, 781 High Street, Thornbury.
Gallery open 30th June to 22nd July, Fri, Sat, Sun – 11.00am-4.00pm
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.
I was delighted this week to be invited to speak at the Animaladies II conference later in the year! Very excited about the line up of speakers. Also – they have used a detail of boobscape for the poster.