(working statement)
Similar to Nancy Spero, I see my work as a protest. It is
not a war that I am protesting directly, but a much more subtle struggle, that
of gender living under patriarchy. In Findings,
I press clay into a mold of my grandfather 232/243/272/292 times. The
number represents the over two hundred three hundred girls that went
missing two months ago this time in Nigeria. The clay is unfired, purposefully
left impermanent, as is all ground, philosophical or topographical. It is through this impermanence, I find hope. Each
portrait’s presence/present is captured in a momentary stasis in the form of an
enlarged digital print.
1 comment:
Great so far, Tereza.
Some questions:
-can you be more specific when you say "subtle struggle" of living in a patriarchal world? How are you struggling specifically? Do you really feel that oppressed?
-What qualities about Nancy Spero's work do you identify with, and how are you actually protesting? How is leaving the sculptures on the ground a protest?
-What does your grandfather's molds have to do with Nigerian women exactly? What's the connection there?
-Why is it important to highlight the method of documentation? Why is enlarging the images important to you? What about impermanence gives you hope, and what does that have to do with protesting patriarchy?
xoxo
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