Site Venue exhibitions

I really enjoyed this part of subject because it turned out to be incredibly important for the development of my work by inspiring my final piece for subject in June. The first project was the diorama and creating something from a cardboard box. I chose to only exhibit the first box I made because it went with the theme of my locker exhibition and my subject practice. For my box, my idea was to create a room in the red light district, since I visited last winter and have quite a few opinions on them. I really like the idea that the sex workers are genuinely cared for and have laws to protect them, and I also like how they make money from ‘playing’ the objectifying game, that’s usually against women, to make a living.

Imo and I created the poster for this exhibition, luring our audience with some humour from the Blue Peter examples we were shown in our lectures.

For the locker exhibition, I created something a little different to the box by making the walls look like the inside of a vagina using painted cling film. I used closed curtains as the opening of the locker, forcing the audience who wished to look inside to open them up themselves, perhaps making them feel like they’re intruding or being invasive. I also created a soundtrack for the locker which includes dramatic porn noises, me reading out fifty facts about the vagina, and the sound from a documentary of sex work in Liverpool.

Here’s the poster created for this exhibition, which was a huge success because the turnout was great.

My favourite part of site venue to take part in was going around every other group’s projects, including Sashi’s ‘The Uncomfortable Zone’, where she’d made a series of uncomfortable works, including food and shame hats that had people sat in a circle, sharing stories of shame.

I also really enjoyed this interactive piece by Toqa, made of post-it notes, enabling people to write or draw whatever they wished to.

Dissertation Proposal PDP

My studio work and previous essays mostly central around feminism and its history, therefore I wanted to continue my research by writing my dissertation on the different angles feminist artists take, especially looking into Freudian theories and feminist critiques of his work. Constellation, especially in Level 5, has been tremendously useful in this sense, and I was lucky to be able to study so much about my interests, such as fetishism, fashion, Freudian concepts and how feminism could critique to all of them.

Although I enjoyed the first year of Constellation studying the body in art and design and subcultures, It was Sigmund Freud’s theories and concept that interested me the most, and how women in the art industry tries to de-bunk them and/or use them ironically. I was most intrigued by castration fear, vagina dentata and phallic women (1938) and how they can all be seen everywhere in the media, films and advertisements, if you chose to believe his theories. I wanted to explore this further by finding photographs and art pieces I had already come across and try to argue how his theories are used, whether it was the artist’s intention or not, and if they might have played on them. I also enjoyed looking into Greek mythology, and how they could be linked into Freud and feminism, especially Ovid’s myth of Pygmalion and the monstrous woman, Medusa.

I looked for the “obvious” imagery first, for example, genitalia and phallic imagery, such as guns, all the way to lesser obvious imagery, including materials, colour, skin, hair, etc. I also wanted to use images that included imagery that were not difficult to find his theories in, as well as one that we see all the time in media and cinema, and that would be more challenging to dissect, but just as full of Freudian concepts. These include Penny Slinger’s Vagina Dentata, (1970) and Lana Del Rey, Vogue Italia (2012) photographed by Ellen von Unwerth, to name a few. As we see, Freud’s theory of vagina dentata is the title of Penny Slinger’s piece, making it easy to find examples to argue. However, Unwerth’s work was for Vogue which is a professional and established magazine, creating a fantastic contrast to argue the same question I had chosen and how they both offer similar and different ideas to challenge Freudian concepts. I did this by looking into different theories, such as glamour, fetishism and feminism.

The Goddesses and Monsters study group in the first term has enabled me to really think about the theory, creating further analysis and development in my work as well as help me broaden my ideas. This includes, for example, what materials I could use, such as shiny and soft fabrics to correspond with Ovid’s myth of Pygmalion and his ideal woman, and contrast them with harsher materials that were used for the prostitute’s imagery, which would then challenge his ideal. I could also use colour and paint strokes, to full on genitalia imagery, then use similar theories to explain their significance. I want to develop my research into Freudian theories even further by using them ironically in my studio practice as well as into my dissertation. Janet Sayer’s Freud’s Art – Psychoanalysis Retold has really helped me with this. Her analysis of art that I’d never even consider to have any link to Freud has really broadened my view on how I could analyse my own work in whichever way I’d like to, especially using Freudian theory. From theory, I have also learnt how to successfully prepare for future assessments by realising the blanks I need to fill in the analysis and theory of my studio practice, and how I can perhaps change them to be fully developed pieces. This will then enable me to think about theory naturally, whether it be in my work or another artist’s work.  My dissertation research has also helped with this because I’ve be doing it in all my subject, constellation, and independent research, enabling even more practice in using theory in all aspects of my degree. This will also help me develop my own ideas and theories, and how I can challenge them in future briefs, thus creating unique and well thought-through pieces. My dissertation will thus simultaneously plant the seed for third year work, because theory is constant and I aim to always read and develop my ideas in my chosen area of work. This extensive research in both subject and constellation will let my dissertation and future assessments flow naturally, as I hope by then I would have overcome most of the challenges I have faced.

Description comes naturally to a student studying art, as we subconsciously do it all the time through our painting, illustrations, making, etc. But I, as do many other artists, slightly struggle with the analysing and theory behind what I was exploring. My thinking process is fast-paced and quite chaotic, therefore I find having to put them into written words rather difficult. In constellation, we were taught “Cath’s Columns” and it really helped me piece together my ideas, by first starting with the description by only using a few words, which enabled me not to over-complicate things at the very beginning. As I moved to the analysis, I used theories I had discussed in my Constellation classes as well as a lot of personal research, including phallic mother and female/feminist artists, which broadened my way of looking at images by knowing what to look for. For example, I could use Freud’s theory of castration fear (1938) to analyse almost everything I chose to look at if I picked out and argued the right things from the image. The theory was also a little more time consuming and a lot more difficult because the books I needed were all taken out at the same time due to other students writing similar essays. I overcame this by using Cardiff Metropolitan’s ‘metsearch’. This enabled me to look through books (if they were available online) in the comfort of my own home, thus also resolving the amount of time I was taking going to the library to find the books. I found that “Cath’s Columns” also helped me here because I knew exactly what I needed to look for because I already had the analysis ready. I also decided not to only use books, but to look into magazines and articles for examples, in order to not limit my research.

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16/04 Assessment

Documentation

Huguette Caland’s 1971 “Self Portrait” and my continued ideas and material responses to it

The material exploration and thinking that led to the development of my artwork

Site venue – generating ideas

How Relational Colour has influenced my studio practice

Current progress in my subject area

Contextualisation

Davida’s ‘Failiure’ Lecture – 19/02/18

re.act.feminism

Relational Colour research and its influence to my studio practice

Ways of Exhibiting – how artists display and disseminate their work

Critical Debates – Appropriation and The Everyday

 

Assessment Personal Statement

Huguette Caland’s 1971 “Self Portrait” and my continued ideas and material responses to it

My chosen artwork is by Huguette Caland, named ‘Self Portait’, 1971, which is a piece from a series of drawings I saw in the Venice Biennale, which were extraordinarily delicate, intimate ink drawings of female genitalia. I decided to go down the route of using theories discussed in Cath’s Goddesses and Monsters about phallic women and castration fear, which has created an element of humour and irony in my work.

I started by drawing her piece and created collage-type drawings of it, which lead to different drawings of vaginas in Caland’s simplistic style.

I wanted to focus on the materials I used to create these sculptural/paintings of vaginas in order to create a meaning, leaving them open to interpretation. My idea was to use contrasting materials of soft fabrics, making the spectator want to touch them, as well as use clay which mimics what a vagina actually looks like. The act of dressing up a vagina then opens up a social issue that women face, as well as a slightly humorous side of fetishism and strip tease – but by using a ‘scary’ vagina, rather than an entire body.

From my previous assessment, I planned to incorporate my vagina pieces into photography by using them as props and consider other social issues, such as the red light district, which stereotypically include heavy fetishism imagery. These ideas were brought on by the Ways of Exhibiting part of the course, which lead to creating work that fitted into my subject work perfectly because of this.

I also plan on creating numerous different sizes of clay, abstract vaginas – especially smaller ones, and I hope to include issues such as the ‘designer vagina’ that means to “tidy” vaginas by trimming the labia. I want to make them look floral from certain angles, which would aesthetically deem them beautiful, such as what I’ve done below;

I began by making miniature clay pieces of vaginas from drawings I made in my sketchbook. I made 23 in total and they’re all in various shapes and sizes and have an organic look to them to fit in with the illusion idea I have to take pictures from different angles and have them look floral. Here are how they look before being painted;

 

And below are after being painted. I then began experimenting with different camera angles to get the best effect for my idea. Some came out terribly while others really worked!

I stuck with using a bright pink/red colour for the vaginas to resemble bright red flowers, and I’m really happy with how they turned out. It was difficult to get my phone camera to focus on the pieces very closely, therefore I wasn’t able to take zoomed in pictures and create an even better illusion to get people to question what they are, but I do feel that they look organic enough for this effect anyhow.

I was also able to finished shaped/relief paintings I began a while ago, which were, once more, based off of drawings in my sketchbook. I first off used clay to add depth to the shapes I’d cut out, then painted and used fabric on one to correspond with my previous work about fetishism with, for example, hair, clothes, bows, etc. They tie-in my previous shaped paintings with my clay sculptures well by being a transition between the two and they also helped me with my dissertation research by letting me look further into these topics.