Thy Creature installation

I just completed an installation of my Thy Creature project as part of a group exhibition at the Seymour Art Gallery in Deep Cove (North Vancouver) that opens this Sunday (Feb 15).

Thy CreatureThe 50+ ink drawings of faces were made with brush and ink on rice paper. The individual drawings have been glued directly to the gallery walls.

Mapping a project

Thy Creature map

An excerpt of the Thy Creature series will be shown within a group show in February. The curator asked each of the artists to describe the process they used to develop their work. This map represents my current thinking about this project.

 

Reconsidering the terms “artist” + “mother”

16RMRadiant Monster (detail), 1996

I’m developing a presentation about being an artist-mother for a conference that considers a collaborative dance project by dancer Julie Lebel. Her project opens up a new possibilities for understanding intersubjective, collaborative and creative movement. The ensemble she’s been working with is made up of a community of children and parents who’ve danced together weekly over a four-year period.

My presentation, on a three-person panel following a performance by the ensemble of children and parents, will discuss how becoming an artist mother has empowered me to interrogate stereotypes of both artists and mothers. I’ll talk about what it has meant for me to develop my practice as an artist-mother, when it sometimes felt like those terms were mutually exclusive. Becoming an artist mother has helped me redefine both what it means to be an artist and what it means to be a mother.

Rather than experiencing the role of the artist as one of alienation and selfishness, I understand that it’s possible for an artist to have social responsibilities, participate in a world of relationships and consider others as at the same time as they pursue their own goals.

I’ve also redefined what it means to be a mother, because as much as I love my children, I still need to maintain my sense of autonomy and personal agency. A mother doesn’t have to give up her identity and passion because she has children. I see that my work has an artist inspires my children to pursue their own passion and goals within their lives as young adults.

Repetition or Invisibility?

I recently had the opportunity to sit down and discuss my preoccupation with repetition with my long-time friend Jeanne Randolph (psychoanalyst, theorist, critic, art writer, and performer).

Jeanne reminded me that repetition is about what cannot be spoken, “Freud suggested that repetitive action is a way of remembering, with the implication that words cannot possible represent what happened (or cannot be found) for various reasons: that memory is preverbal; that memory is traumatic; and that memory has been forgotten in any conscious form, so can only be repeated through an action.”

She suggested that there is something in my work that is not coming into representation and wondered if it might be about invisibility rather than repetition. I may think it’s about the face but what if it isn’t? The face I draw over and over again may be a red herring. What I’m really revisiting is still unknown.

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