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‘This is a Man’s World’ sang James Brown. What does that mean for women? For the summer issue of See All This, iMAE, the Master ‘Artist Educator’ of ArtEZ, and Ello, the online platform for creative soules, joined forces. On Ello an ‘Artists Invite’ was sent out: female artists could send in their work the past few months. No less than 600 artists submitted their work. Twenty artists were selected for this online blog from which 10 are also included in the summer issue of See All This magazine. Students of the Master ‘Artist Educator’ wrote personal notes to each selected artist:
‘Animal milk is produced through the abuse of the reproductive cycle of a female goat. Freedom is taken from female living beings, whose reproductive capacity is manipulated for human demands. This photo exposes two human males exploiting a non-human female for her bodily secretions. In my opinion, this photo is the epitome of the patriarchal culture that is followed and maintained by male and female humans around the world.’
‘Your work stood out to us all in the first look at submissions. The simplicity in images, yet symbolic and potent narrative. I love the way you reflected your experiences within society, giving another perspective or reading. You aim to reach new audiences, which is needed within the topic relevant. I would be interested to see multiple versions, that can speak the complexity of perspectives you are trying to reach. I also had a look on your website, I really like your use of bold colours and objects. I wish you all the best. Thank you for sharing your work.’
‘This is a very strong illustration that shows not only equality but also effort to reach equality. Debatable how we see equality in humankind, In my own opinion the narrative of this illustration also shows the equity.’
‘I like it that you use humour to present the issues between men and women. Does the worthy of women depends on the attitude of men? Or can the appearance of a woman be a tool to regain power?
‘A female figure wandering in the wilderness, confronting her own existence and trying to find answers. Her life journey was demanding and effortful. Yet, she walks patiently in the snow, she stands fearlessly in front of the unknown, she observes empathetically her surroundings and finally realizes that she is not alone. actually, she never was alone. Mother nature was always there with her as part of her life experience. Now, the wind starts to whisper secrets and memories and she seems to be skeptical and determined. In my opinion, this artwork is a static photographic performance which conveys the movements and the philosophical aspects that link feminism with ecology. Moreover, it opens a strong existential dialogue between women and earth. Let’s not forget that there is a mystical connection between the female souls of our human society and mother earth herself. A mystical connection that is not easily understandable from patriarchal souls and minds.’
Dorris Vooijs‘The layers of your work brings a richness to its reading. The materiality and textures of your images invites me to try to imagine narratives, giving faces to the bodies. Your use of aesthetics catches the eye and asks for a narrator. I would love to see these in person. I would be especially interested if they were life size and how the audience would respond, interpret, engage with them then. I wonder are the images collected from yourself or from who?’
‘Your use of a woman as a commodity to be butchered and sold is a powerful statement, and a interesting reflection on society. You are creating a narrative by selling the woman as a product to be used and disregarded and the position she should have. Not just the problem of today but a possible solution for tomorrow.’
‘Your images embrace the complexity of narratives, experiences and histories into an aesthetically engaging moment. They are directed to the reader to give meanings, to give new imaginations of the individuals and stories told, yet the women in your work stand strong. I love the way you re-directed the gaze, gave the women agency and position. I am intrigued in how you collect images and your own process of bringing them into the work. I would be interested in how this method could also engage with historic moments and be re-told or re-invented through your collages.’
‘Before I read your statement, what I recognized from painting is the strong relationship between water and earth. In the paintings, the water always touches the ground, in order to nurture and to create happenings in the given space. Then, my question is how does this generated movement relate back to the water again. Through the painting, I could start an exploration about where this “role” starts, and, as a creature on the earth, what is my relation to the “role”. This blurring boundary on defining the “role” is a strong narrative that your painting provides.’
‘The way you have visualized you inner being shows colorfulness and complexity. The planes of the different parts of you flow over and under each other, peeking through and giving just a glimpse of the full picture. The shapes show a logical past that outlines a more creative inner part. All works go outside of the frame, showing that the inner self is never fully visible to you or to others. And by not showing those shapes we can connect them to ours. You have made works that do no just communicate with the viewers but invite to connect.’
‘I like how you use the human body function to demonstrate how art works, especially, for some vulnerable groups.’
Teresa Orazio‘By creating a summary of different sides of the female position you do both illustrate their place in society, and ask the question if this should be the case. If I read your works correctly you start the series with the woman as a beating heart, the seed of passion and feeling. A female as an emotional being. The second one is the objectification of the female as an object for the man to gaze upon. To finish with a reflection on the desire to feel beautiful and to be seen as someone that is beautiful. Not just an emotional being, or an object to be desired. But a complex person situated in a society, with multiple reasons to maneuver through those emotional states.’
‘Your resistance against gender codes, believing what was told us from birth and that women should be subservient to men, is strong. Your photos show an almost surreal reality where faith controls the daily lives of the people in it. Your photos are dark, but have a strong message within them. I hope that, in the future, we will teach our children better, that no one should be subservient to another.’
‘Yunjei Cho: Your work gave me the strongest feeling among all other works. It speaks for itself. As a Christian, it is easy to forget the fact the person on the cross has died for everyone, all humanity. The person on the cross could be anyone. What I experienced from your work is that you have deliberately liberated the symbol from the patriarchal ideology by expressing the disregarded femininity of it. Through the femininity, your works are embracing the agony of a reality in a humane way. Not just as a mother, but also as a woman on the cross.’
‘These are strong pieces you produced, for it communicates the voice of those who have never been heard. What I experienced when looking at your work is a moment where I want to convey your ‘message’ to others.’
‘Our body as a material, always creates sensation, feelings and experiences, which tells who we are in the end. By exploring and materializing the complexity of your stories intertwined within the body through textiles, I believe your work challenges the society, and claims the voice that has been taken away by the radicalization and simplification. Furthermore, I think the most important value of this work is that it goes beyond the making process to the local reinvention of social relations by encouraging us to find the common threads.’
‘For me, fabric could be for cover, it can be a beautiful dress, just to see how I use it, but for the Middle East woman, this fabric has a meaning for culture. Once, I heard a prostitute saying that she always carries a veil, because it would make men curious, which has increased her price. This piece of fabric, in fact, it is just a tool!’
‘Mystery and suspense are two words that p0p into my mind when I look at your submission. I like your statement: “It is only the outside world that tells me I should be afraid, being a female artist in this man’s world.” Through your work you show a resistance and a fearlessness.’
Kristine Paiz‘Your work explores something that cannot fully be articulated verbally, it is an experience that not all can understand. I am intrigued in the processes of your work and how the pieces ‘become’, where do you make them? What are the conditions you create for making them? The embodiment of scoring and leaving marks is an act of resistance. It reminds me of Jean Michel Basquiat in your use of bold textures. Your statement gives further depth and further context to the work which I believe is important.’
‘Your work speaks something that words can’t. The objects carry narratives, and can relate to everyone in different ways. I am interested in knowing how you could work with others and this method to enable them to tell their stories also or explore further the ideas of maternal, un-maternal and maternity. It would also be particularly interesting how you further explore the maternal within the Mexican culture past and present. You engage with important topics, for you and for society.’
If you are interested in one of these works and would like to speak with the artist please send an e-mail to: [email protected]
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