1
300
4
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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/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/3f61edaef3afa8a13498d9359c1d0ed4.jpeg
ca180c84e21a95b63475c380cc9e81b7
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.rachelfallon.com/">http://www.rachelfallon.com/</a>
<a href="http://www.procreateproject.com/portfolio/rachel-fallon/" target="_blank" rel="noopener">http://www.procreateproject.com/portfolio/rachel-fallon/</a>
Medium
sculpture
peformance
photography
metal
textile
paper
Location
The location of the interview
Bray
County Wicklow
Ireland
Artist Statement
Fallon’s work explores themes of protection and defence in domestic and maternal realms. Her practice encompasses sculptural work in metal, textile and paper; drawing, performance and photography.
Conflicts and ambivalences within familiar territories inform the initial choice of materials and technique for each work. The methods of making are crucial to revealing new ideas and resolving thought processes intrinsic to the original starting point of the piece.
As well as an individual practice, Fallon also works in collaborative groups and collectives, both in Ireland and England. The two disparate ways of working feed into one another and are therefore equally important parts of her practice.
Topic
protection
defense
maternal protection
maternal defense
ambivalence
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" rel="noopener">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
Rachel Fallon
ambivalence
Bray
County Wicklow
defense
Ireland
maternal ambivalence
maternal defense
maternal protection
metal
paper
performance
protection
sculpture
textile
-
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