boobscape (3 skins) 2017

IMG_20170704_181138boobscape (3 skins), 2017 at Animal Intersections, 2017

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SPOM: Sexual Politics of Meat at The Animal Museum

I’ve just returned from 9 days in LA installing my work in The Sexual Politics of Meat exhibition at The Animal Museum, Arts District, DTLA.  This exhibition follows on from the book The Art of the Animal, Lantern Press, 2015.  The event opened on Saturday 25th, and the museum hosted a colloquium on Sunday 26th featuring a talk by Carol Adams (author of The Sexual Politics of Meat) and followed by a panel discussion led by Stephen Eisenmann with the artists present.  The exhibition continues until mid-April.

The exhibition opening was covered by Jane Velez-Mitchell (Jane Unchained) and I have an interview in this portion: https://www.facebook.com/JaneVelezMitchell/videos/10158268492465693/ and a preview in the Huffington Post by Ellen Kanner http://www.huffingtonpost.com/entry/meatless-monday-the-art-of-the-animal-the-sexual_us_58a38d3ce4b0e172783aa1e

Here’s some installation shots of my work – I showed a new iteration of boobscape, 2016-17 and slink, 2014.

 

My trip to LA was made possible by an Australian Artist’s Grant:

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.

Boobscape (leather symbol)

boobscape-with-threads

Finished up this new work – a boobscape in the format of the leather symbol – bringing the link between the slink series and boobscape closer together.  An iteration of this piece will be shown at Selvedge as part of Melbourne Fashion Festival.

I had been considering incorporating the sea anemones floor pieces – however, I think I will leave it plain and threaded – as there is more research work to do incorporating the issue of agricultural pollution on waterways/water-creatures, and those strange little half plant, half animal carnivorous creatures (anemones).

latex troubles …

no matter how many notes I make – the weather, the latex age/batch, and just who knows what  … conspire to affect the outcome – and most times these unknowables and uncontrollables are most welcomed – but when I really want a certain density / thickness to be reached so the boobs can hold their form without padding, and twice the casts have come off the mold too thin …  it’s just too annoying

boobscape /anemones

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!)

cribrinopsis_olegi-credit-dr-nadya-sanamyan

Photo credit: Dr. Nadya Sanamyan, Russia: specimens from Kamchatka, NW Pacific
http://actiniaria.com/cribrinopsis_olegi.php

a-davey – and this fantastic shot of anemones at low tide Photography: A Davey https://www.flickr.com/…/adavey/3608367639/in/photostream/

Selvedge – boobscape

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).