1
300
4
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https://www.artistparentindex.com/files/original/8d67d110e466f3097cebc983c016c909.jpg
0a7e70f59a8f5e124c33eea1573dade3
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.rcoutureart.com" target="_blank" rel="noopener">www.rcoutureart.com</a>
Topic
motherhood
postpartum depression
miscarriage
Medium
photography
sculpture
installation
video
Artist Statement
Influenced by the personal and the political, I explore a wide range of themes within my work. I have developed a diverse practice that allows my ideas to dictate media, form, and process. The project SUBROSA (Miscarriage) explores the confusion, sadness, conflicting emotions, and the process of moving forward after miscarriage. Sub rosa is the Latin term for "under the rose," which means "in secret.” For many, miscarriage is a secret and solitary experience. This may seem odd given one in four pregnancies result in miscarriage, approximately 750,000 to 1,000,000 every year in the United States. However, scores of women or families miscarry alone due to the “12-week rule.” Medically, miscarriage is treated as a “routine pregnancy complication.” Your doctor or midwife explain options. You receive a booklet with pictures and explanations designed to inform a woman/couple of the why’s and what-happens-next. People are uncomfortable talking about pregnancy loss, so they don’t. How do you mourn someone who never came into being? There are no rituals for miscarriage, thus no cultural steps or process designed to aid in mourning. You try to imagine a new future, a new what-happens-next. And in time, you do, though it is difficult.
Dublin Core
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Contributor
An entity responsible for making contributions to the resource
Renee Couture
Title
A name given to the resource
Renee Couture
installation
miscarriage
motherhood
photography
postpartum depression
sculpture
video
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https://www.artistparentindex.com/files/original/85da3d5caa0395e78e0dc1585b14cde5.jpg
114eabbc295bbdeb9549e36a50513847
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.sherfickart.me">www.sherfickart.me</a>
Topic
motherhood
medication
post-partum depression
anti-depressants
family
family history
medical care
medicine
Medium
mixed media installation
textile mixed media
textile
Artist Statement
<br /><span>As an artist, I never identified myself with my family. My having a family was just a part of my biology, driving relations and the cause of both joy and sorrow. All of these identifiers caused ambiguity within me. Constriction, restraint, joy with sorrow, and invisibility were the products of my familial experiences. Unfortunately, this separatist attitude developed into a denial of my complete person. I AM a woman, a daughter, a granddaughter, an aunt, a sister, a wife, and a mother. I carry the practices of many generations- messages of motherhood and womanhood in my very veins and soul. As I began an archeological dig into my familial ties, I re- discovered and acknowledged - for the first time - my family history and existence. My works now include the very ambiguity I feel over this issue. The use of domestic and childhood materials and constructions of fabric and vintage apparel reveal the paradox of family history – myths, storytelling, truth, lies, misunderstandings, and, above all, the difficulty of unconditionally loving one another. By questioning what family ties mean to me, I offer a record of one artist’s journey into acceptance and the embrace of the familial spirit I have denied for years. My work now reflects the depolarization of my familial/individual self.<br /><br /></span>My art intends to question the roles of women and women artists. My use of domestic and childhood materials and constructions of fabric and prescription bottles reveal the paradox of the life of this woman artist. I have embraced my love of the color pink and the vintage teal that stands for home and comfort and I celebrate the drugs which allow me to create and thrive. By questioning what femininity and pharmaceuticals means to me, I hope to offer a record of one-woman artist’s journey into acceptance and the embrace of the feminine spirit I have denied for years. Recent works visualize the depolarization of my artist/feminine self. <br /><br />In <a href="https://www.sherfickart.me/#/artgallery/a-paxil-a-day/"><strong>A PAXIL A DAY</strong></a>, I chose to display the medications themselves in clear, pharmacy style mylar bags. Hung plainly on the wall in a grid pattern, I make my medical and emotional history transparent to the viewer. I am not ashamed of needing the prescriptions, I am proud of myself for seeking and developing a regime for well-being. A PAXIL A DAY serves as an announcement and/or ‘bulletin’ board of my status. By celebrating the pharmaceuticals which help me to live and thrive, by being unashamed to live authentically – I hope to alleviate the social prejudice that exists against mothers on medication.<br /><br />In <a href="https://www.sherfickart.me/#/artgallery/coping-skills/"><strong>COPING SKILLS,</strong></a> I have confronted and embraced my history of medical issues and my use of anti-anxiety and anti-depression prescriptions. After a practice of collecting all the prescriptions and their bottles since 1997, I chose to crazy quilt them with vintage fabrics utilizing tatting thread in rough, utilitarian stitches. By displaying these bottles (45 which equal one year of medications) on a plain wooden altar with a plexi-mirrored shelf, I celebrate the life I have been able to live due to their remedies. As a result of pharmaceutical intervention, I maintain a well-being of physical and emotional health which allows me to be the best wife, mother, artist, and human I can be.
Location
The location of the interview
Spring Hill
Tennessee
USA
Dublin Core
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Contributor
An entity responsible for making contributions to the resource
Sher Fick
Title
A name given to the resource
Sher Fick
anti-depressants
family
family ties
installation
medication
mixed media
motherhood
postpartum
postpartum depression
textile
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https://www.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://www.artistparentindex.com/files/original/ac93e27aeec9e4b1b720b6a22a96579d.pdf
ec906508e312246ca9ad1b79f4b29d84
https://www.artistparentindex.com/files/original/c887af14d625256afe06b71b5ebe3de8.jpg
437dd955466c9416066f5a2504367291
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