1
300
5
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https://artistparentindex.com/files/original/46f3b28fb6005892eca17a67d071ad43.png
e50a463d379dd001ecd6a8bc33b10a36
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.projectbeta.be/?portfolio=it-wasnt-a-dream" target="_blank">http://www.projectbeta.be/?portfolio=it-wasnt-a-dream</a>
Topic
daily life
children
living with children
documenting
Artist Residency in Motherhood
Medium
photography
Artist Statement
How are memories built in one’s mind? Which images of my daily life will stick? The series ‘It wasn’t a dream’ is a cinematic family study made in my own family, combined with shots of families in the township of Kliptown, South Africa. I didn’t only explore how things are now, but also how they could have been, a journey of longing and nostalgia. In this way I find beauty in everyday life. I’m touched by the way people are trying to make the best of their situation, without disregarding their dreams. The families in South Africa were strangers to me, though I managed to build up ties with them, even if they didn’t always speak a common language. What we always did have in common was motherhood, the basis on which the confidence was built. By focussing on intimate scenes of my own family life I invite you in. Nothing is set up, a lot of details the environment offers are used, but ‘It wasn’t a dream’ is not a documentary. Likewise, the pictures from Kliptown are fragments of daily life there and only partly reveal its reality. This way I create a trailer to reflect a certain atmosphere, the viewer is left the liberty to imagine the fascinating story behind it.
Location
The location of the interview
Belgium
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Contributor
An entity responsible for making contributions to the resource
Inge Driesen
Title
A name given to the resource
Inge Driesen
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https://artistparentindex.com/files/original/2e54eebb7219c81fac9bac674b77c1aa.jpg
d23662b94aad4b4a430644e2b53f317c
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.jenningssheffield.com/tethered.html" target="_blank">http://www.jenningssheffield.com/tethered.html</a>
Medium
photography
Location
The location of the interview
Woodway
Texas
Artist Statement
Tethered is based on images I photographed over a 4 month period of time, documenting my life every 30 minutes, as I perform my daily roles of artist, mother, teacher, wife and daughter. This body of work investigates the tethering-effect we experience everyday, by portraying what a specific period of time looks like during different days of the week. <br /><br />Using a mathematical formula, each image illustrates what a two hour period of time looks like as I balance various roles throughout the week. As unique as each two-hour interval is, certain consistencies also run through our scheduled days. The look and feel of a two hour period in the morning versus a two hour period in the afternoon conveys a very different set of characters, circumstances, interactions, responsibilities, and roles.<br /><br /> In comparison to today, past generations whether by choice or not were very segregated -- work and family life rarely converged. However with technology, today our lives have become more confused, intermingled, and merged -- thus creating the tethering-effect. <br /><br />Pulling from thousands of images, I chose 4 to 6 images from the same time of day, but on different days of the week (e.g. 2:00pm-4:00pm). Once selected, I digitally slice the chosen images into vertical strips of information. I then reintegrate all the vertical slices to create a single, compressed image of time. Each print illustrates a two hour period. Tethered consists of nine large format prints (43" x 28" x 4 1/2") that document my waking hours of 6 am to midnight. Once compressed, and as in real life, all the the different events and interactions inevitably merge into a singular life experience. <br /><br />Due to the mathematical equation used to create the work, the images appear to shift and change depending on the distance and the angle from which they being are being viewed. Because of the illusion produced, the work has been mistaken for lenticular prints, however, they are flat prints.
Topic
motherhood
documentation
daily life
daily routine
mother/artist identity
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jennings Sheffield
daily life
daily routine
documentation
mother/artist identity
photography
Texas
Woodway
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https://artistparentindex.com/files/original/ca6fb8eb11353e66ea1d5699ca542a25.jpg
7dcc0c66220d42f21756c6dc7bf14814
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="https://www.verastankovic.com" target="_blank">https://www.verastankovic.com/</a>
Medium
sculpture
installation
photography
collage
urban intervention
performance art
object
sculpture
photography
writing
interdisciplinary
Location
The location of the interview
Ljubljana
Slovenia
Europe
Artist Statement
<p class="p1">I am fascinated by transformation processes.</p>
<p class="p1">I observe transforming spaces, economy, environment, cities, work, cells, bodies, knowledge, history, countries, roles, education, technology, relationships, selves, languages.</p>
<p class="p1">Becoming and being a mother is for me all about transformation. My first solo exhibition in the Zepter Gallery in Belgrade, Serbia was called Metamorphosis<span class="s1"> . </span>The objects I made used banal everyday objects (plastic bags) and transformed them into an immense vagina or into umbilical cords falling from the ceiling. This story from 1999 was a intimate story of separating oneself from the primary family and a story about the everyday and the environment.<span class="Apple-converted-space"> </span></p>
<p class="p1">From 2006 to 2012 my partner and I went through a series of unsuccessful IVFs and several miscarriages. I did several sculptural works that documented this part of our lives - like the Womb exhibited in 2010 in Museum de Ceramica de l’Alcora, Spain. It was just about the pain, I guess.</p>
<p class="p1">In 2012, I was invited to make an urban intervention inside the Vesel Garden in Ljubljana, Slovenia. I was three months pregnant with my son and did not know what to expect about the occurring pregnancy. So I did an urban intervention with a participative performance and called this work Embryo garden. It was all about the thin line between life and death of the child to be, but also of the artistic child within myself.</p>
<p class="p2"><span class="s2">My experience as a parent has been both challenging and inspiring for me as an artist. I explored the relationship between the roles of artist and parent in my 2016 exhibition in the Glass Atrium of the City Hall of Ljubljana, called A Thank You Note To the Cleaning Lady. The work that lent its name to the exhibition questions the relation between reproductive, maintenance work and having greater purpose in life. As a whole, </span>the exhibition was born as a product of broken antagonism between being a parent and an artist and of cooperation between the two roles. The installation To Include Everything, Everything, Everything, Absolutely, Absolutely, Everything especially focused on that. And the work The Map is about the child experiencing and learning by himself, and the artist-mother just observing and taking notes. In this process, I sometimes feel as if steeling from him.<span class="Apple-converted-space"> </span></p>
Topic
play
daily life
work/life balance
parenting
domestic
artist/mother
fertility
infertility
vagina
parent/child collaboration
World War II
exploring
anger
cleaning
maintenence
everyday
powerlessness
ritual
grandmother's motherhood
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Vera Stankovic
anger
archive
artist/mother
calendar
cleaning
collage
daily life
domestic
everyday
fertility
grandmother
infertility
installation
maintenance
Maps
motherhood
parent/child collaboration
parenting
plastic
play
Poljanska
powerlessness
Pozega-Slavonia
pregnancy
readymade
ritual
sculpture
Serbia
Slovenia
toys
vagina
womb
work/life balance
World War II
writing
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https://artistparentindex.com/files/original/92a49a04b2b270a25ff35ca15ec82d71.jpg
d50c9721f689f278f82d6fde43d38909
Person
An individual.
Website
The Artist's website
<a href="https://www.tracymarietaylor.com/" target="_blank" rel="noopener">www.tracymarietaylor.com</a>
Location
The location of the interview
Chicago
USA
Artist Statement
Cried Milk (2018 - present)
Cried Milk uses data collected from a smartphone app to visualize what it looks like to exclusively breast pump for twelve months. Each visualization represents one month of data. The blue rings represent one hour, the change in value tracks the hours of sunlight and darkness, while the change in saturation indicates broad weather patterns (sunny versus cloudy). The straight lines each represent one day and the yellow circular bursts represent each 30-minute pumping session. The size of each circle correlates to the quantity of milk collected. This project connect to broader cultural conversations about motherhood. As infertility rates continue to skyrocket, many women experience motherhood through a similar, clinical lens. My hope is that this project gives voice to the millions of women who have struggled to become mothers and honor the under-valued labor of motherhood.
The Shape of Your Sounds (2017 - present)
Using audio surveillance technologies provided by a commercial baby monitor, I capture my baby’s cries and translate that data into visual shapes. The sound waves loop back on themselves in a 360-degree rotation. The result is vaguely reminiscent of the shape of a flower; each burst of sound looks like a petal. The initial purpose for this project was to try to find visual patterns that could be more easily interpreted. However, I quickly realized this was a fool’s game; the visual patterns are as indiscernible as his sounds. Therefore, what remains is a visual record of a moment in time; a beautiful reminder of those sleepless nights when the world was comprised of just my son and myself.
Sleep Regression (2016 – 2017)
“Sleep Regression” is a series of intimate works that were painted in the space of nap times and record the moments I watched my son while working in my home studio. The paintings’ small size and blue palette reproduce the video format and color, mimicking the tension between the close, private space of sleep and the distance created by the act of surveillance. The effects are eerie and disturbing images of rest. Lingering in the unconscious state of sleep the baby’s body looks lifeless. Are these representations of a sleeping child or a fetus? These works are thus unusual documents of baby’s first year of life–odd surrogates for the family photo album.
The gray-scale paintings, on the other hand, reinforce the reference to the sonogram, creating layers of distance. The painting series thus portrays an interesting paradox: the increasing stylistic abstraction chronicles my catharsis after years of fertility struggles as I move further away from my past sorrows, yet the works also reflect a turn inward and becomes more specific to my body (womb) and more private. The delineated forms in black, white, and grey look like the thermal imaging of a birth–drapery resembles the uterine wall, a dark ground morphs into a vaginal opening.
Topic
abstraction
aesthetics
art
artist mother
baby
baby food
bodily transformation
breast milk
breast pump
breastfeeding
breastfeeding advocacy
breastmilk
care
care taking
care work
caregiving
caretaking
communication
conceptual art
contemporary art
creative practice
creative practice and family life
cyborg
daily life
daily routine
daily tasks
data
data tracking
data visualization
documentation
domestic life
domesticity
early motherhood
everyday activities
exhaustion
family and career
feeding
female body
female experience
feminism
feminist
feminist art
food
food systems
gender equality
gender roles
good mother
grief
growth
guilt
healthcare
human body
infant care
invisible labor
isolation
lactation
let down reflex
loss
maternal experience
maternal healthcare
maternal time
medical care
milk
milk jug
money
mother and child
mother artist
mother guilt
mother work
mother/child relationship
motherhood
motherhood and economic context
motherhood as art practice
mothering
motherwork
mundane details
nature vs. technology
nursing
nursing mothers
parental leave
personal
personal boundaries
personal experience
personal space
pumping
record keeping
remembering
repetition
repetitive tasks
representations of motherhood
research and art
sleep deprivation
social norms
son
technology
time
unpaid labor
visualizations
women's health
women's identity
audio waves
archive
care labor
crying
data visualization
documentation
emotional space
infants and sleep
language
language development
sleep training
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
2018- “Fits and Starts,” Roman Susan Gallery, Chicago, IL
2018- “The Shape of Your Sounds” (solo), Sonnenschein Gallery, Lake Forest College, Lake Forest, IL
<a href="http://www.artistparentindex.com/items/show/471">2019 - "While I Was Away" (solo), Roman Susan Gallery, 1224 W. Loyola Ave. Chicago, IL</a>
<a href="http://www.artistparentindex.com/items/show/495">Painting at Night, Fort Houston Gallery, Nashville, TN</a>
Medium
acylic
flashe
sculpture
digital
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tracy Marie Taylor
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https://artistparentindex.com/files/original/1dc9f8eb8059a54e02838be696c57652.jpg
0b6c8400c32ec4ff5a04a944094f119e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.jenniferlong.ca" target="_blank" rel="noopener">www.jenniferlong.ca</a>
Topic
memory
pregnancy
domesticity
girlhood
childhood
motherhood
mothering body
image
feminism
vulnerability
transformation
parenting
touch
intergenerational family
play
daily life
domestic labour
invisible labour
caretaking
mundane
Artist Residency in Motherhood
gesture
maternal body
mother/daughter relationship
Medium
photography
lens-based
Artist Statement
My practice is propelled by an interest in the varied experiences of girls and women, and the limited ways in which they are represented within image making. Through a Feminist lens, I work with constructed narratives that are inspired by the quiet moments in girls and women’s lives where seemingly nothing (and everything) occurs. I am especially interested in the complex emotions that underlie these mundane points in time. Themes of vulnerability, transformation, and discovery are explored in my image making through the use of touch, gesture, and the gaze as I observe conscious and unconscious modes of communication. Over the past decade, my art practice has focused on the early stages of motherhood and pregnancy as I navigated this new terrain in my personal life. My current series, ‘Caesura’, developed out of my observations of the struggle my daughters grapple with as they find a balance between their dependence on me and their growing independence. This series re-constructs and intertwines various remembrances, making visual the experience of seeing myself reflected in my daughters’ gestures and actions. At the forefront of this project is the need to make space for my ever-changing outlook of being a mother and an artist.
Location
The location of the interview
Toronto
Canada
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Contributor
An entity responsible for making contributions to the resource
Jennifer Long
Title
A name given to the resource
Jennifer Long
artist residency in motherhood
caretaking
childhood
daily life
domestic labour
domesticity
feminism
gesture
girlhood
image
intergenerational family
invisible labour
lens-based
maternal body
memory
mother/daughter relationship
motherhood
mothering body
mundane
parenting
photography
play
pregnancy
touch
transformation
vulnerability