1
300
7
-
https://artistparentindex.com/files/original/9b0a5ac4ddb08294b3c6500c92721fc3.jpg
77df313faee131c079c2b3f473c0acc1
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://adriannedruryphoto.myportfolio.com/work" target="_blank" rel="noopener">https://adriannedruryphoto.myportfolio.com/work</a>
Topic
the maternal
maternal ambivalence
doubt in parenthood
motherhood in Britain's working class
sole parenting in Britain's working class
Medium
photography
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
Adrianne Drury
Title
A name given to the resource
Adrianne Drury
photography
The maternal. maternal ambivalence. doubt in parenthood. motherhood in Britain's working class. sole parenting in Britain's working class
-
https://artistparentindex.com/files/original/b0fc00b9d713445533d6cff753aef741.jpg
63b281c9333f67b715144260b82d24b1
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.kimyibo.com" target="_blank" rel="noopener">www.kimyibo.com</a>
Medium
printmaking
installation
drawing
cards
Location
The location of the interview
Geneva
Switzerland
Seoul
Korea
Los Angeles
California
Artist Statement
Since 2010 my art has been about processing my experience of giving birth to and raising children—both the emotional aspect of it and the social context in which my stories are situated. To create a space of shared reflection, I created a collective called Institute of Mothering Artists, IOMA. Here is an excerpt from the manifesto of IOMA: “We are writing a new definition of the word “mother” where the work of caring does not assume a body of a woman, hence we want to use “mother” as an action verb. To mother means to care for or to protect someone or something.” (an excerpt from the manifesto for Institute of Mothering Artists, 2018) My thoughts on “mothering” were inspired by the stance of women who were mothering in the margins. In a book “Revolutionary Mothering,” a collection of writings by radical and queer black feminists, the editors Alexis Pauline Gumbs and China Martens, define mothering as an act of caring, nurturing, affirming, and supporting life. For me, mothering is doing the reproductive labor with love and using this very act of caring for others to fight the injustice. It is transforming the society while being transformed by the act of caring. In my personal art making, I try to capture this metamorphosing process that takes place when we take care of one another. The spaces I create through drawing, printmaking and installation become a metaphoric place where the visual elements and logic recreate the dynamics of interpersonal relationships.
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
2018 oh motHER, Custom House Leith, Edinburgh, UK
2018 Casual Kitchen Art, Curated by Super Ego, Junkere 11, Bern, Switzerland
2018 À Table, Ressources Urbaines, Genève, Switzerland
2017 Paradoxical, Pneu, Velodrome Jonction, Genève, Switzerland
2012 Reflections (Duo Exhibition), Paul Whitney Larson Gallery, University of Minnesota, MN, USA
2012 Blessings II, Gage Family Art Gallery, Augsburg College, MN, USA
2011 Women: Relationship and Identity, Curated by Sarah Sampedro, Homewood Studios, MN, USA
Topic
art
art world
artist collective
artist mother
care
care giving
care labor
care taking
care work
caregivers
caregiving
emotional space
feminism
feminist
feminist art history
gender
gender equality
interdependence
maternal ambivalence
maternal care
maternal subjectivity
mother artist
mother artists
motherhood and art
motherhood and social context
mothering
racialized mothering
revolutionary mothering
queer parenting
representation of motherhood
reproductive labor
social justice
transformation
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
KimyiBo
-
https://artistparentindex.com/files/original/6a5b3c63539bb6a4426ef547e21903ce.jpg
2fe7a6ab781d8b9f9c3a5254552f4d02
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
<p class="p1"><a href="jesstaylorartist.com" target="_blank" rel="noopener">jesstaylorartist.com</a></p>
Medium
sculpture
new media
Location
The location of the interview
Adelaide
Australia
Artist Statement
<p class="p1">I am an early career artist whose practice explores my fascination with fictional horror through primarily digital methods of making. Within the broader realm of horror, I have a particular interest in monsters, voyeurism, and depictions of female brutality, sadism, and masochism. Using my own image and body exclusively, my work presents versions of womanhood that transgress the bounds of what we are taught is acceptable, uncanny spectres of female experience that society is keen to repress. Here, monstrosity is configured as a source of damnation and agency, reflecting womanhood as complex and contradictory.</p>
<p class="p2"></p>
<p class="p3">My own experience as a mother has been one of profound contradiction, of exhilarating highs and profound lows, of love and fury, comfort and trauma. I struggle to reconcile the fact that the greatest time in my life is also the one when it was the darkest, and that my body birthed a miracle but feels like a ruin. I am not as I was, but not quite sure what I am now; I’ve yet to turn into anything resembling the gargantuan mother archetype we’re fed, and too much of the old Jess remains for me to consider myself someone new. I have been transformed, reborn, reconfigured using the old parts. Some days those new parts feel like they were made of steel, making me infinitely stronger than I was, and other days that steel bites into my flesh, broken limbs fused back together suddenly failing to bear my weight.</p>
<p class="p4"></p>
<p class="p3">Motherhood is a monstrous condition; it is incredible and disturbing, beautiful and completely fucked up. Like monstrosity, it is transformative, and for the woman-monster, this transformation is a source of both agency and damnation, strength and weakness. My work since my son is in part an attempt to reconcile the contradiction inherent in my own experience of motherhood, and to bridge the divide between what I am and what we are told a mother should be.</p>
<p class="p3">Experiencing pregnancy for the second time has greatly influenced my work, causing me to reflect much more closely on the process of bearing a child. There is the strange bodily awareness and attempts to reconcile this cavernous space that exists within me, and evocations of my own paranoias as I imagine this space as a place of both hope and doom. I like to think there is also some absurdity when one looks at a ridiculous, bulbous woman, or my lady-giants, but there is also the tenderness of the nets that keep the babies close to her body, or the way a stomach is opened up to sate the curiosity of the smaller figures who peer inside. There is the sorrow of the figure on the bridge as she surveys the fallen before her (a mediation on periods in history where the practice of fallen-mothers ending their lives and the lives of their offspring was not only a grim expectation, but an act of redemption), and my attempt to see a ruin as a place of beauty and life.</p>
Topic
abjection
ambivalence
anger
anxiety
artist mother
attachment
autonomy
bad mother
birth
birth trauma
body transformation
boundaries
childbirth
contemporary
contemporary art practice
contradictions
domestic
family ties
female experience
female sexuality
feminine
femininity
feminism
feminist
feminist art
feminist art theory
fertility
grotesque
growth
guilt
identity
loneliness
longing
loss
loss of identity
maternal ambivalence
maternal anxiety
maternal body
maternal desire
maternal experience
maternal fear
maternal guilt
mother
mother artist
motherhood
postpartum body
pregnancy
pregnant body
psychoanalysis
representation
science fiction
self portrait
technology
trauma
voyeurism
womb
women
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
Jess Taylor
abjection
ambivalence
anger
anxiety
artist mother
attachment
Australia
autonomy
bad mother
birth
birth trauma
body transformation
boundaries
childbirth
contemporary art
contemporary art practice
contradictions
domestic
family ties
female experience
female sexuality
feminine
femininity
feminism
feminist
feminist art
feminist art theory
feminist theory
fertility
grotesque
growth
guilt
identity
loneliness
longing
loss
loss of identity
maternal
maternal ambivalence
maternal anxiety
maternal bodies
maternal body
maternal desire
maternal experience
maternal fear
maternal guilt
mother
mother artist
motherhood
new media
postpartum body
pregnancy
pregnant body
psychoanalysis
representation
science fiction
sculpture
self portrait
technology
trauma
voyeurism
womb
women
-
https://artistparentindex.com/files/original/880c19e8c4cd69e761e587668e35e6e7.jpg
44daa583b48e76f7b76b7b8e6b5de982
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.
Medium
film
sculpture
textile
photography
installation
Location
The location of the interview
Ascot
Berkshire
United Kingdom
Artist Statement
<div dir="ltr" id="yui_3_16_0_ym19_1_1521640730501_24734"><span id="yui_3_16_0_ym19_1_1521640730501_25484" style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;">My work comes from a position of ambivalence – more specifically through ambivalent motherhood. My father died when I was a child and my mother before I had my own children. The chain from parent to child to becoming a parent oneself was broken. My work is around the space between these broken links.</span></div>
<div dir="ltr" id="yui_3_16_0_ym19_1_1521640730501_24734"><span style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;"> </span></div>
<div dir="ltr" id="yui_3_16_0_ym19_1_1521640730501_24734"><span id="yui_3_16_0_ym19_1_1521640730501_25185"><span id="yui_3_16_0_ym19_1_1521640730501_25485" style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;">In psychoanalysis the container/contained notion, as introduced by Wilfred Bion, holds a neutral position, without judgement, that can be used as an approach to thinking about motherhood. It provides numerous ways of probing the question: 'who is the container and who is the contained?'. How does the relationship between mother and child stand at any one moment? How does one see oneself - as a mother or as a child? What is the basis of the container at that moment? What is the emotion of the contained? The container can be actual, practical, or explicit. It can be metaphoric, emotional or implicit. Container/contained is a recurring theme in my work as I explore the fluctuating emotions of ambivalence.</span></span></div>
Topic
maternal ambivalence
maternal relationships
container / contained
depression
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/299">Left Overs</a>
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
Jane Glennie
depression
film
installation
maternal ambivalence
photography
sculpture
textile
United Kingdom
-
https://artistparentindex.com/files/original/ce725e7bb0df6467c9f4f4a2d6afd041.jpg
471f00739788f44a7007e66aaad35bce
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://denisef.squarespace.com/casein-prints/" target="_blank" rel="noreferrer">http://denisef.squarespace.com/casein-prints/</a>
Medium
photography
Location
The location of the interview
Canberra
Australia
Artist Statement
Denise Ferris is an artist living in a small town of rural Australia and lecturing in Photography at the School of Art, the Australian National University in Canberra. Currently the site-specific photographic representation of the non-epic sublime landscape is of central interest, making photographs that question sustainability, human and environmental change, aesthetics and place. Over the last decade photographs have been made during winters in Perisher Valley, NSW and in winter 2011 also in Norway. Some of these photographs have been exhibited in award and group shows. The large exhibition weather report (2006), was an example of a continuing fascination with direct photographic capture- the 'street photograph' in a non-urban situation. weather report was made over winter in Switzerland during a residency at Halenstein near Chur.
Beginning with Given Grace in 1998, subsequent exhibitions centred on maternal issues, from both personal experience and as an examination of broader social politics. For example Home Decorum (2003) and The Madonna Myth (2002) advocate questioning society’s acceptance of the status quo in the work of care, where an inordinate contribution is routinely expected by society from care givers who are women. While another series Vestment (2004) suggests the perpetuity of the maternal connection, representing its enduring and binding relationship. As a formal and conceptual strategy alluding to the complexities inherent in mothering, these works contain a combination of the nurturing protein of milk, casein with a poisonous chemical, dichromate. They are printed in sunlight using this nineteenth century recipe for a photographic emulsion.
Interested in visual representations of the maternal, a number of conference papers demonstrate research on the power of photography in this representation. (See a full list of Conference Papers on this site.) The paper Regarding the Familiar, the Maternal Gaze and the Child Image in Fine Art Photography investigates representations by photographer-mothers of their own children. It examines the implications when photographs construct our image of childhood, and analyses the attendant anxieties on the proliferation of the public child photograph and maternal photography in fine art that picture maternal relationships. The Line of Pleasure, the Genealogy of Maternal Photography, traced a maternal photographic lineage, harbouring both amateur and professional intentions, from the nineteenth century to her own more recent photographic representations of childhood.
Denise’s photographs are in Australian public collections including the National Gallery of Australia, The Canberra Museum and Gallery and the National Library of Australia, as well as international collections including the District Six Museum, Cape Town and Nara City, Japan.
Topic
mother's milk
maternal ambivalence
care work
caretaking
lactation
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
Denise Ferris
-
https://artistparentindex.com/files/original/dbeece619409f77454fab35c6a046ccd.jpg
c26ad6a5a90f885711c6e4cb7eba4ebf
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.pieshake.com/#!experimental-shorts/cx06" target="_blank">http://www.pieshake.com/#!experimental-shorts/cx06</a>
Medium
film
video art
Location
The location of the interview
Richmond
Virginia
Artist Statement
Since the mid-1990s, I have been making films about outsiders, misfits and everyday radicals, telling stories that occupy the intersection of intimate experience and public discourse. Several of these works are lyrical explorations of motherhood made with a hand-cranked 16mm film camera. These experimental shorts and looping projections mine the tension between the subjective, lived experience of women and mothers; our interior lives of fantasy and projection, and reality as refracted through our media-dense world.
Topic
motherhood
16mm film camera
maternal ambivalence
sex education
conception
gestation
pregnancy
families
homes
domestic life
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://artistparentindex.com/items/show/19" target="_blank">Project AfterBirth</a>
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
Sasha Waters Freyer
16mm film camera
conception
domestic life
families
film
gestation
homes
maternal ambivalence
pregnancy
Richmond
sex education
video art
Virginia
-
https://artistparentindex.com/files/original/49ed2d09c8f7d03c18a5a48f4845163d.jpg
455a2d6a5c744c18099bc4e5f0bcac11
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.sarahirvinart.com" target="_blank" rel="noopener">www.sarahirvinart.com</a>
Biographical Text
When I started my graduate program in 2013, I was confident that becoming a mother was not compatible with my studio practice. In the middle of my first semester, I began to question this assumption. As an experiment, I assumed the opposite was true, that there was work that I could only make if I was a mother. I was suddenly able to envision not only the work, but also myself in the role of “mother” for the first time. Three months later I was pregnant and I got to work. Creating in this way allows me to form myself in a role of “mother” and in turn motherhood continually redefines my practice. The work opens up dialogues about circumstances that are publicly debated, but only privately experienced.
I measured my stomach with a piece of yarn at navel height the day I found out I was pregnant. I tied the yarn off in a loop. I repeated this every day until the day I went into labor. Every week of the second trimester, I lifted 26 pounds, one pound over the recommended amount a pregnant woman should lift, using a block and tackle pulley system and created a transfer drawing with the impact when it was dropped from nine feet.
I established mechanisms to capture the physical actions of parenting as a mark on a page, beginning while I was in labor. For instance, the area rug in the nursery created transfer drawings as we walked across the room, the glider rocker created drawings as we rocked, and the stroller created drawings as we strolled. These works were enabled by the activities of our daily lives and captured the kinetic energy and labor involved in the care and nurturing of an infant.
During the second and third months of my daughter’s life, I created a series of watercolors exclusively while she slept, with each set considered complete when she awoke, allowing my circumstances to dictate aspects of my creative output. While breastfeeding, I made drawings on paper I created from my bed sheets with looping marks corresponding to individual suck and swallow motions of nursing providing a real-time read out of this experience. I commissioned a reproduction of the plastic measuring scoop that comes in a container of Similac infant formula to be cast from silver baby spoons.
Other iterations of this series include my daughter’s nursery as camera obscura; cyanotypes created with her blankets, toys and clothing; early stages of her own mark-making captured through fingerprint dust; silverpoint drawings tracing her early movements made with jewelry from my grandmother; and paintings made with a baby bottle and formula. As a whole, this project-based work is a personal narrative taking form as poetic visual data.
The works are exhibited as sets and series. An entire year’s action of rocking a baby is a set of 59 drawings made with our rocking chair. One year of walking across a nursery rug is a row of 12 large transfer drawings. Fifty feet of watercolors represent a tiny sampling of the available time during early parenthood when the baby slept. The work visualizes how care taking has shaped me as an individual and how it has transformed my mark making.
I view everything related to the experience of parenthood as a valid subject matter and/or mark making tool and this has opened up new methods of creating. The pieces are derived from the everyday. The interface of specific materials and processes with the everyday provides an entry point into broader topics of gender, production, reproduction, care, biological processes and cultural systems.
Medium
painting
drawing
papermaking
video art
photography
installation
Topics
The topics addressed within the Artist's work.
motherhood
parenthood
breastfeeding
infants and sleep
pregnancy
Location
The location of the interview
Richmond
Virginia
Topic
breastfeeding
motherhood
infants and sleep
pregnancy
baby formula
caretaking
gender and caretaking
domestic labor
maternal ambivalence
Artist Residency in Motherhood
gender equality
home
domestic space
care work
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
<a href="http://www.artistparentindex.com/items/show/274" target="_blank" rel="noopener">Labors</a>
<a href="http://www.artistparentindex.com/items/show/392">The End & The Beginning</a>
<a href="http://www.artistparentindex.com/items/show/452">Extended Self: Transformations and Connections</a>
<a href="http://www.artistparentindex.com/items/show/495">Painting at Night, Fort Houston Gallery, Nashville, TN</a>
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
Sarah Irvin
ambivalence
body
breastfeeding
care work
domestic labor
domestic space
drawing
gender
gender equality
home
infant care
labor
maternal abivalence
maternal body
maternal time
motherhood
mothering
painting
paper
papermaking
repetition
repetitive tasks
ritual
tracking
video