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https://artistparentindex.com/files/original/ac93e27aeec9e4b1b720b6a22a96579d.pdf
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https://artistparentindex.com/files/original/c887af14d625256afe06b71b5ebe3de8.jpg
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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.belindakochanowska.com/" target="_blank">http://www.belindakochanowska.com/</a>
Medium
photo-montage
photo-collage
Location
The location of the interview
Brisbane
Australia
Artist Statement
Kochanowska uses an intuitive and self-reflexive process of photo-montage to express her psychological, spiritual and physical experience of pregnancy, motherhood and the natural world. Kochanowska draws from 16th, 17th and 18th century anatomical, botanical and natural history illustration to construct works teaming with fleshy distortions, flora, fauna and fantastical locations. Alternative mythologies are presented that are at once joyous, surreal, organic and deformed, blossoming with life, yet also brimming with a haunting disquiet.
Biography
Belinda Kochanowska is an artist based in Brisbane, Australia. Her practice frequently explores issues of memory, environment, women’s identity and physicality. She has exhibited in various group and solo exhibitions in Australia, UK and USA, including international publications. Kochanowska has also worked as the Executive Officer for the Queensland Centre for Photography. Her work has been shortlisted for an international art prize and recently chosen for a 3 year International Exhibition touring the UK, Europe and USA: “Project Afterbirth”. Her work is held in “The Birth Rites Collection”, University of Salford (UK) and the collection of the Royal College Of Obstetricians and Gynaecologists (UK).
Topic
women's identity
memory
environment
pregnancy
postpartum depression
anxiety
birth
pregnancy and fear
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
Belinda Kochanowska
anxiety
Australia
Brisbane
fear
photo-collage
photo-montage
postpartum depression
pregnancy and fear
women's identity
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https://artistparentindex.com/files/original/3ad4b2ef701fc942b0b33de9bed29a28.jpg
0b42d64c9ada4b7ba59837b5e2ff1e5c
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.xscollective.com.au/" target="_blank">http://www.xscollective.com.au/</a>
Medium
sculpture
Location
The location of the interview
Mildura
Victoria
Australia
Artist Statement
Danielle Hobbs explores ideologies, contradictions and complexities of ‘good’ and ‘bad’ motherhood with her labour intensive, fastidiously crafted wardrobe of clothes for her children, offering a poetic response to the artist’s first-hand experience of Postnatal Depression. Hobbs’ meticulously constructed garments are enriched with talismans, amulets and charms, and laced with traces of strangely familiar, slightly subverted fairytales and myths. Their construction incorporates the psychological agency of biological materials such as collected hair, eyelashes and nails from family members as well as materials collected from native and introduced animals such as echidnas, galahs, the fox and the European rabbit. Fight or Flight takes its name from the psychological reaction that occurs in response to a harmful or threatening situation. It is a reversible caplet; one side is stitched with a bib shaped collection of porcelain human teeth replicas, the other has a generous covering of feathers from an important Australian cultural icon and (ironically) flightless bird, the Emu. The article of clothing made for the artist’s daughter can be worn baring teeth or displaying feathers depending on the chosen response to a situation. The work embodies the dual purposes of watching over the child in the mother’s absence and shielding the child from the ‘bad’ mother’s presence. These protective garments make manifest Hobbs’ hopeful coping mechanisms that enabled her to navigate and overcome her darkest moments of Postnatal Depression.
Topic
good mother
bad mother
clothing
fairytale
postnatal deppression
costume
cultural icon
talisman
amulet
charm
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
Danielle Hobbs
amulet
Australia
bad mother
charm
costume
cultural icon
good mother
Mildura
motherhood
mothering
postpartum depression
Victoria
wardrobe
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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/491e36e7ab2754cdf2c75b6b28e1fc46.jpg
d2a035d31ea9822f825b02d4734981e7
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.lindanclark.com" target="_blank">www.lindanclark.com</a>
Topic
motherhood
Practice-led Research Methodology
identity
ritual
personal experience
public space
private space
Medium
Installation
Artist Statement
My recent work explores the shifting re-interpretations of motherhood as subject matter in contemporary art. In particular, my work investigates the process of traversing mother/artist identities as a useful model to reinstate a creative space between motherhood and art practice. This premise involves re-orienting rituals and personal experience utilising a role of mother as ‘Keeper, Facilitator and Manipulator of Memory’ to create a new narrative which may highlight social undercurrents or create a new mythology. This narrative is conveyed through sculptural objects, video and sound that are used as innovative sites in installation art that blur private and public boundaries.
Location
The location of the interview
Augustine Heights
Queensland
Australia
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
Linda Clark
Title
A name given to the resource
Linda Clark
AUGUSTINE HEIGHTS
Australia
identity
installation art
personal experience
Practice-led Research Methodology
private space
public space
Queensland
ritual