M.A.M.A. Issue n.34:  Charlotte Morrison and Kristin Roedell

The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 34th edition of  this scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. #JoinMAMA

October, 2018 Art by Charlotte Morrison, words by Kristin Roedell

Art by Charlotte Morrison

Years ago, some of my first serious art pieces were about the experiences of giving birth. I was intrigued by what happens when you merge a personal life event with the medical file that accompanied it. Red ink flowed onto thick paper while a crisp pen scribbled medical notes onto a bleached-out body.

Those early pieces are now lost to me – distant both in time and space.

But embodied experiences remain a constant source of inspiration. Yet our perception of the body is far from constant. For our body exists in different realms – shifting between lived experiences and medical observations, defined by culture and dominated by history. And so my visual recordings of the individual flutter and fluctuate – weaving their way across time.

Today, medical quotes and observations of the female body – hammered out on my old type writer – interfere with delicate body parts rendered in glass and porcelain. Tomorrow these pieces may be repositioned and take on new meaning.

Only a short while ago, I collected narratives about menstruation – now I am making work about the menopause. Both were traditionally taboo subjects. And both are decidedly female hormonal experiences. In the private sphere these experiences are often suffered in silence, in the public they are ignored or suppressed – and within the medical community the “unruly” female body continues to cause a dilemma.

Because of this I have taken great pleasure in exhibiting sanitary towels cast in kiln formed glass. With edges sharp as nails and red colours flowing through them, they are the embodiment of lived experiences – at the same time beautiful and disturbing.

Hidden lives and untold stories feature heavily in my work. Displayed on plinths, assembled in cabinets and hung on the wall the silent stories become visual – elevated and treated as objects of beauty; Scars, which were disguised and covered up for years, are now exposed and cast in exquisite pure white porcelain – displayed on plinths. Surgery, health and body image is explored in work about mastectomies. Placed on the wall, it is no longer possible to ignore the body in transition.

The relentless quest to challenge and explore what defines us continues.

Our sense of self – what is it really?

The more private aspects of our lives are often crowded out as culture interferes and medical descriptions intervene – context defines us far more than we realise. And yet throughout time we remain anchored in our body.

But as my body changes so does my body of work.

My journey began with personally experiences of motherhood – interlaced by cultural expectations and medical descriptions. This self-same journey is now taking me towards explorations of ageing. As I am entering another stage in my life I become aware of taboos which are distinctly separate to the ones I stumbled across and fought against as a younger woman. And I am looking forward to exposing some of them – yet again making the unseen visual – and allowing silent voices to be heard.

My work is firmly anchored in physical experiences – of who we are and what we may become. It includes pieces about conception, breastfeeding, surgery, menstruation and the menopause. Medical images become embodied, personal and medical narratives fuse together – text and images collide.
I write text pieces about menstruation and poems about the menopause. I write about body image and make interactive books. All of which informs my visual practice and sits alongside it.

The Ages of Woman

 

More about Charlotte:

Charlotte has a background in both psychology and fine art. She worked as a counsellor/therapist for more than 16 years and this experience echoes through her visual work. She has an MA in printmaking from ARU and has done post-graduate studies in glass at Central Saint Martins.

She exhibits regularly in the UK and showed in an international glass exhibition in Denmark in 2014. In recent years she has undertaken art residencies at local institutions, and she has worked in collaboration with a variety of scientists from Cambridge on short projects combining art and science.

A long-term collaboration with another artist has led to several exhibitions exploring the lives of Everyday Women.

Words by Kristin Roedell

Night Blue

Blood in the bath slips

away from a woman

whose monthly seeping

is bound to the moon

with a crimson ribbon.

Her child, astray,

is a pause, a pearl,

a drop of rain.

Wings whirring,

its soul leaves with a cloud

of dragonflies beyond

the Cedar River.

The cistern alongside the house

is full of rain. She drinks a ladle full

to take back what is

lost. Her husband’s breathing

colors the night blue.

Herself astray, she curls

beneath his sleeping arm.

In the morning she tells him no

more than the eddy at the edge

of the river, or the silent

circling trout.

 

From Mom Egg Review vol. 12 (2014)

Kristin Roedell is the author of Seeing in the Dark (Tomato Can Press), and Girls with Gardenias, (Flutter Press). Her work has been published in The Journal of the American Medical Association, Switched on Gutenberg, and CHEST. She is a Pushcart Prize and Best of the Web nominee, winner of NISA’s 11th Annual Open Minds Quarterly Poetry Contest, and a finalist in the 2103 Crab Creek Review poetry contest. http://cicadas-sing.ucoz.com/


M.A.M.A. Issue n.33:  Kate Walters and Eve Packer

The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 33rd edition of  this scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. #JoinMAMA

August, 2018 Art by Kate Walters Words by Eve Packer

Art by Kate Walters 

Kate Walters’s works explore themes around the disembodied uterus, the narcissistic mother, and the connections we have with animals and wilderness.

Kate Walters’ works in watercolour, monotype, and oil are concerned with the interaction of the animal, plant, dream and human worlds; depicting in raw and graphic immediacy a relationship that is both intimate and nurturing.

Walters studied fine art at Brighton University. She spent some time working at her successful teaching career before completing a postgraduate fine art diploma at University College Falmouth. Around 2000 Kate was elected to be a member of the Newlyn Society of Artists. She is currently serving on the NSA Committee.

See more at: http://www.katewalters.co.uk

Words by Eve Packer

“summer flash”

when we were young, younger,

summer finds us in the play-

ground, niall & s.j., jeanne &

eric, sam & me, after a long

day of day care or whatever,

i’m not even sure we stopped

at home, i think, we bring the kids

w/change of clothes direct

to the playground: there is

a sprinkler-fountain, old-school,

up a few steps, a huge sand-

box, center, a huge concrete

ship for scaling, the kids

love, but someone once cracked

open his head–now of course

replaced by a generic safe climbing

structure–as its named–

anyway, the boys, they were all

boys, would play–for hours–

we would pick up sandwiches

at the opera–the deli–named for

nick and dom opera, the owners,

it was filthy and funky and they make

the best heroes and sandwiches, and

the kids play in the fountain–the neighborhood

transvestites stop by to use the bathroom

and one sits atop the sprinkler to cool off

and strut her stuff and get clean–and after

a bit the wise parks department attendant,

rather than make a fuss, just turns off

the water–the transvestite takes her leave, the kids

play til dark or after, maybe it turns

cool

wed., 8/1/18: 8:47 pm

Eve Packer – Bronx-born, poet/performer/actress. Appearing widely with dance, poetry, performance, music, theatre. NEH, NYSCA, NYFA awards. Downtown Poet of the Year awards. Numerous publications. 3 poetry books (Fly by Night Press). 5 poetry/jazz CD’s. Teaches at WCC. Mom, Grandmom, lives downtown, swims daily.


M.A.M.A. Issue n.32:  Sophia Marinkov Jones and Sherine Elise Gilmour

The ProCreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 32nd edition of  this scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. #JoinMAMA

July, 2018 Art by  Sophia Marinkov Jones, words by Sherine Elise Gilmour

Art by Sophia Marinkov Jones 

The works are from a series that reflect different moments in a day as a mother and child interact. These drypoints required firm pressure to engrave lines into perspex sheet before the inking and printing processes. This firm contact is essential for the lines I make, which are scratched or rubbed into a surface.

More About the artist: 

Since the birth of her son, Sophia’s work has explored how identity is forged through family experience. She often makes drawings on the floor with her son present and his energy drives the process. This dynamic developed thanks to Procreate Project’s Mother House, where she was invited to work alongside her son in a shared studio space. She is interested in the gestures that are exchanged between mother and child and the deeper psychological impression (and disturbance) that a child makes on an adult and how this is managed and returned back to the child. Her line works to express the immediacy of a moment and rising emotion, and to capture these tangled states before they are lost.

Previous works explored landscape and conservation. She studied Architecture at The Bartlett, UCL and has an MA in Printmaking from the Royal College of Art, London.

Milk

Words by Sherine Elise Gilmour

Sad Animals

Draw a sad rabbit you said.

And I did. This is what we used to do. Each night for weeks. Construction paper. Pink, yellow, blue. You would tell me what to draw and what to write, because you did not like the way the marker felt in your hand, pressed to your palm.

Draw a sad elephant. Draw a sad cow. Make him cry. Draw a sad frog.
Draw a sad squirrel.

Draw a family of sad rabbits. Write “sad rabbit family.” No no no, they’re sad, they’re sad. You cried and demanded when I tried to give an animal a smile. No no no. They’re not happy, they’re sad.

Originally published in Mom Egg Review vol. 16 Mothers Work/ Mothers Play

Sherine Elise Gilmour graduated with an M.F.A. in Poetry from New York University. She has been nominated for a Pushcart Prize, and her poems have appeared or are forthcoming from Green Mountains Review, Many Mountains Moving, Oxford University Press, River Styx, So To Speak, Tinderbox, and other publications.