It's almost time for the Graduate Art Show at Blackpool School of Art, so we are all busy preparing our artwork for the virtual exhibition. As part of the preparations for the show, we have been asked to prepare a statement which explains what our work is all about. So today, I've been working on writing a piece that would explain to someone who doesn't know me or my work, what it's all about. Here's what I've written , I think it get's the main points across, but inevitably there will be things I've missed. It was quite a challenge to fit it all into one sheet of A4 because as always, I have such a lot to say!
Kathy’s installation 'Hidden in Plain Sight' is about the patriarchal suppression of the Goddess religion, and the centuries of disempowerment and invisibility that women have suffered. Her work was partly inspired by the research for her dissertation, which was entitled, 'An Exploration into the Palaeolithic Sculpture known as the Venus of Hohle Fels, from a Goddess Feminist Viewpoint'. The diminutive size and mysterious markings on the body of the Venus of Hohle Fels inspired the idea of creating something small and enigmatic. Kathy wanted to explore ideas around precious relics, artefacts, fragments, and treasures from the past. She chose the circular shape of the paintings because of their associations with planets, cycles and the concept of magical portals into other worlds.
Kathy decided the series of paintings should consist of eight individual pieces. She chose the number eight to reference the eight-fold cycle of the Moon with connotations of women’s cycles and the Moon Goddess. She reinforced the goddess and prehistoric symbolism by carving into some of these ‘sacred circles’ with symbols of the Goddess (as identified by the archaeologist Marija Gimbutas). These symbols were often used by artists in the Neolithic and Palaeolithic period. She created a series of small, ambiguous paintings using transfers, stencils, drawing, painting, and encaustic techniques. Layering the mixed media and finally carving into the layers of wax, to reveal glimpses of the stone circles and previous layers. Beeswax is incorporated into the work to reference the small, but important, goddess of the bees. The idea to use stone circles as a visual metaphor for a group of women was inspired by the contemporary artist Monica Sjoo's painting 'dancing women, dancing stones.' Kathy liked the idea that in a stone circle, the stones are all different shapes and sizes, like different women and goddesses from around the world. Most of the stone circle paintings were deeply embedded in wax; buried, hidden, and made invisible. However, the audience can see fragments of what lies beneath, through the transparent and semi-transparent areas of wax. This references how women have been historically hidden, disregarded and suppressed by the patriarchy. Even so, the occasional woman/goddess has been seen – perhaps through a distorted lens – but nevertheless, has been seen, and is sometimes remembered.
The circles have been housed in a physical representation of a palaeolithic cave/temple, it is a feminine, womb-like structure. They are set against a background of red splatters and drips of paint with connotations of menstruation and feminism. There are women's handprints, not visible from the outside, on two of the interior cave walls which is made from rough, natural fabric. From a distance, the sacred circle of paintings can be seen, but the details are obscure. However, when the audience enters the opening/doorway they can see the handprints, and this will help them put the work in historical context. The decision to create a cave and handprints was inspired by research that stated that the handprints found in cave art were made by women, and not men. This was possibly one of the earliest examples of women being ignored as artists and written out of history.
In an ideal situation, the installation would be an interactive experience. The ‘cave’ would be a full-sized version of the maquette. The slate floor would reference time, strength and also the fragility of the human condition. The audience would be invited to make their own handprints on the ‘cave walls’. Therefore, the surface would be continually transforming and evolving, with layers of handprints building up over time. Kathy believes the work would have a bigger impact on the audience if they were physically involved with it. It would be her hope, that the experience would encourage them to think about how universally satisfying it is to ‘make your mark’, and how we all need to be valued and recognised, regardless of our differences.
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