Bric a brac

The project includes several paintings presented on hardboard, and three groups of objects. These works are a reflection of a general view of femininity and partly the image of the female body as a sexual object, an object that is devoid of the ideal yet with the sensual attributes with which it has been attached for centuries. This is a rather objective look at the organic structure of some parts of the female figure. To some extent it refers to the mass culture that has turned a woman’s body into the sexual gadget/commodity for sale…The title “Bric a brac” contains reference to this suggestion, in view of the fact that this French expression refers to a name for collections of small, unimportant curios kept on a shelf. Furthermore, nowadays it describes a selection of items of low value, often sold in street markets. To emphasize this I found tights to be an appropriate leitmotif material. Firstly because tights, as part of a woman’s wardrobe, have long been held as an erotic symbol and kind of female fetish. Secondly, they appear as a perfect medium of suggestion because of the nature of their own structure, promoting and exaggerating the biological aspects of the icon. I am therefore concentrating on the issue of what exactly offers a visual definition of femininity? By the multiplication of and focus upon the vaginal shape. I am initiating the game between the covered and the uncovered, directly expressed in detail -or merely suggested by explicitly placed cuts and sewing. This play has been determined by a male dominated culture, which has made the vagina unseen, invisible, unsightly. In the course of time, feminist womens’ art gave vent to instinct and emotion through which was developed the manifestation of womens’ own physical imagery as a symbol of strength. Referring to this symbology, in one of my works called “Muin” the central motif features pairs of vagina-shaped forms suggesting a burgeoning flower or a fountain from which radiate the legs of pairs of tights. Further, this primitive concept purveys the symbolically implied silhouette of sun, star, spider etc. For some this icon has provided a metaphor of the Mother Earth image. Such association leads me to recall the Sheela-na-gig. Discarded pairs of tights turned out to be a perfect medium to express the organic character of this subject matter. Sometimes these garments impose a gesture of vulgarity, the perverse – even something we might associate with waste matter. Instead of exciting the viewer, being something attractive to them, it might invite rejection, even repulsion. The final aspect concerns the marks made by sewing with red thread and all the other incursions with alternative materials such as placed and scattered rusty nails, plastic, paper and metal forms or sand. These almost certainly provoke a range of interpretations, the first of which that comes to mind is the obvious association of the colour red with the blood of menstruation. This direction of thought, along with the ripped material, leads easily to visions of bleeding caused by virginal penetration or even signs of rape.


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