1
300
3
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https://www.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://www.artistparentindex.com/files/original/00ef2fef64bd77d483ff15fab97a4f53.png
c443b8cf2672ea3d367b9af423fd33ec
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://jillbakergower.com/" target="_blank">http://jillbakergower.com/</a>
Medium
mixed media
silver
sculpture
Location
The location of the interview
New Jersey
Artist Statement
<p>The female experience is a reoccurring theme in my work. My jewelry and sculpture is informed by everyday interactions and observations of gender-based expectations or generalizations. Within advertisements, popular culture, and the media; similar colors, patterns, shapes, beautification techniques, and pastimes intended for women are apparent. My material choices, surfaces, and forms are developed in one way through my exposure and interest in this experience.</p>
<p>The shapes and forms of my pieces come from disparate inspirations including the female form, faceted gems, historic jewelry and metalwork, and tools or implements for beautification or medical procedures. The surfaces of my work are often ornate, etched with lace patterns, and at times are paired with actual crocheted elements. These choices allude to femininity initially by being flowery, lacelike, and curvilinear, by their association with popular use in women’s apparel, and since the act of crochet or lace making is currently and was historically known as a women’s skill. I choose to incorporate skin, red, and pink toned colors in my work primarily to reference human flesh, cosmetics, the body, and blood.</p>
<p>Materials such as skin toned rubber and mirrors reference bodily transformation, self-examination, and vanity. Other materials like pearls, jewels, lustrous fabrics, feathers, enamel, hair, silver, and gold are chosen for their aesthetic qualities, emotional resonance, preciousness, and value associations. With these materials, formal considerations, and influences I create work that is both playful and beautiful and at times even absurd or humorous.</p>
Topic
metalsmithing
female experience
femininity
gender-based expectations
pregnancy
womb
gestation
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
Jill Baker Gower
aesthetic
female experience
femininity
gestation
jewelry
metalsmithing
mixed media
New Jersey
pregnancy
sculpture
silver
womb
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https://www.artistparentindex.com/files/original/accbbb35cdd952b8f36894b64958f599.jpg
178a9fe4c388a01cf88a4586c9eb6dc8
https://www.artistparentindex.com/files/original/65c32696d032bd3edaf1ab0a26d59107.pdf
530169cce6592bdb12a9867f68e63abb
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
<span><a class="in-cell-link" href="http://pollypenrose.com/" target="_blank">http://pollypenrose.com/</a></span>
Medium
photography
Topic
self portrait
female body
femininity
women
social norms
objectification
pregnancy
Artist Statement
Polly Penrose studied Graphic Design at Camberwell College of Arts in London. She went on to work in Fashion Styling and after that worked for the photographer Tim Walker as his Studio Manager. She has always taken photographs, but started to take the practice seriously when she entered and won a competition held by the London Photographic Association in 2008. She held her first solo show, ‘A Body of Work’, at the Downstairs at Mother Gallery, London, in May 2014. She was part of a group show, Dear Sylvia, at the Australian Centre for Photography in Sydney, March 2015 and the Hellerau Photography Award, in February 2016. She was shortlisted for the D&AD Photography Next Photographer Award in April 2015. Her work has featured on Dazed Digital, The British Journal of Photography, The Huffington Post, and many other influential blogs.
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
Polly Penrose
female body
femininity
objectification
photography
self portrait
social norms
women