M.A.M.A. Issue n.41: Michele Landel and Ann E. Wallace

 

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 41st 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 #artandmotherhood

March 2020: Art by Michele Landel Words by Ann E. Wallace

 

Art by Michele Landel

 

For There She Was, comes from the last line of Virginia Woolf ‘s “Mrs Dalloway” and includes over a hundred embroidered, burned, dyed and collaged images. The series emerged from thinking about all the women who are currently speaking out about their pain and trauma and are refusing to go away. To summarize this moment, Michele brewed natural dyes in her kitchen using organic materials and then dyed small scraps of fabric (a cloth baby diaper, an antique tablecloth, a stained tea towel…) to represent the physicality of womanhood and gender roles. She matched the fabrics with small paper dolls that are digitally edited photographs from clothing catalogues to show the commodification and manipulation of women’s stories. To deliberately erase the women, she burned holes in the photographs and repeatedly stitched over their faces and bodies. Yet the women are still there. Their presence is even stronger.

Who’s Afraid is intended to capture the tension between men’s anxiety of being unreasonably accused of inappropriate behavior and women’s fear of sexual harassment and assault. It is referencing the play “Who’s Afraid of Virginia Woolf?” and the inherent tension between actors and audience that is part of a theater performance and in this play the volatile and complicated relationship between men and women. To capture this, Michele started with the gaze. Specifically the ‘male gaze’ as defined by the feminist film theorist, Laura Mulvey. She began with a photograph of an anonymous woman from a clothing catalogue.  The photograph fits interestingly within Mulvey’s three phases of the ‘male gaze’: How men look at women, how women look at themselves, and how women look at other women. She enlarged the photograph, divided it into small rectangles, and then printed the image on secondhand bed sheets. She pieced the photograph back together and painted, using machine embroidery, the woman onto a second bed sheet – covering her skin, hair and clothes with thread. She cut out the woman’s eyes to make the viewer uncomfortable and scared. Deliberately  referencing childhood ghost costumes made by cutting out eyeholes from old bed sheets, she is engaging with the idea of spectator and specter both of which have the Latin root word ‘spect’ meaning to ‘see.’ From a distance the embroidered figure on the sheet appears three-dimensional. The embroidered figure appears to ‘see’ the viewer when in fact the gaze is empty. The vacant gaze causes anxiety and feels powerful.

More about Michele

Michele is an American artist. She holds degrees in Fine Arts and Art History. Her work has been exhibited in Europe, the UK, and the US and she is extremely proud to have been in the 2017 Mother Art Prize group show. She was awarded the 2018 Innovative Technique Award by the Surface Design Association and is represented by the Jen Tough Gallery in Santa Fe, NM and the Muriel Guepin Gallery in NYC, NY. Her upcoming art events include Imagining Identity: Contemporary Textiles at the Palo Alto Art Center Foundation in Palo Alto, CA and the Hankyu Paris Art Fair in Osaka, Japan. Michele has lived in France for over 15 years. She has three school-age children and works out of her art studio in the Paris 9th arrondissement.

Words by Ann E. Wallace

Closed

Close the door.

She looks at me like I am ridiculous.

But I only left it open for a minute.

A girl raised by a father has not

had to think much about the reasons

a family of girls keeps the door closed

and locked.

A family of girls knows

the unwanted will enter

closed doors, will penetrate locks

uninvited.

We do not need to leave

the door open for them.

More about Ann

Ann E. Wallace writes of life with illness, motherhood, and other everyday realities. Her poetry collection is Counting by Sevens , from Main Street Rag, and her published work, featured in journals such as Wordgathering, The Literary Nest, Rogue Agent, Mothers Always Write, and Juniper, can be found on her website AnnWallacePhD.com. She lives in Jersey City, NJ and is on Twitter @annwlace409.


M.A.M.A. Issue n.40: Anna Perach and Jane Yolen

 

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 40th 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 #artandmotherhood

Feb 2020: Art by Anna Perach Words by Jane Yolen

Art by Anna Perach: Wearable Sculptures

 

Anna’s practice is informed by the dynamic between personal and cultural myths. She explores how our private narratives are deeply rooted in ancient storytelling and folklore and conversely how folklore has the ability to tell us intimate, confidential stories about ourselves. In her work She synthesises female mythic characters and retell their stories while placing them in the current climate. By doing so Anna creates an experience of eeriness, evoking a sense of both familiarity and distress.

Anna’s main medium of work is wearable sculpture and performance. She works in a technique called tufting, making hand-made carpet textile which she transforms into wearable sculptures. The sculpture functions as both a garment that is performed in as well as an independent sculpture. Through this choice of medium Anna is interested in exploring how elements associated with the domestic sphere operate as an extension of the self and reflect on one’s heritage and gender role. Her performances reverse this dynamic and exhibit the private domestic carpet as an external masquerade both exposing and hiding fragments of the self. 

https://www.annaperach.com/work

1. Alkonost, tufted yarn and hand embroidery, 80x130cm, 2019 2. Preety Lady (Kim), 190x80cm, Tufted yarn, beeds, metal and wood, 2020 3. Baba Yaga, machine tufted mask (portrait) 90x170cm, 2018 4.The Drunken Bride, tufted yarn & metal frame, 43x200cm, 2019

Words by Jane Yolen

Scars

I saw my mother undressed once.

There were ribbed scars on her back.

I rubbed my point finger

lightly over one of the ridges.

She shuddered at my touch.

I asked her if it hurt.

She said it was a reminder,

her voice almost cooing.

I was too young to understand.

Years later when they took my wings,

before I could even stretch them,

before the air had foiled around them,

I remembered that day. My daughter

and her daughters will never go

under that particular knife.

I will keep them safe, hidden

till the wind can lift them.

There is so much sky.

More About Jane

Jane Yolen will have published over 376 books by the end of 2018. She has worked in almost every genre possible. Her books include several NY Times bestselling children’s picture books, prize-winning short stories, and poems. Six colleges and universities have given her honorary doctorates. She was the first writer to win the New England Public Radio’s Arts & Humanities award. She’s mother of three (all in the book business) and grandmother of six.

“Scars” by Jane Yolen was previously published in Mom Egg Review Vol. 17, 2019.


M.A.M.A. Issue n.39: Jessica Lauren Elizabeth Taylor and Kimberly L. Becker

 

Procreate Project, the Museum of Motherhood and the Mom Egg Review are pleased to announce the 39th 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 #artandmotherhood

May 2019: Art by Jessica Lauren Elizabeth Taylor words by  Kimberly L. Becker 

Art by Jessica Lauren Elizabeth

Muttererde profiles conversations with five black femmes on the knowledge and non-knowledge of their mothers, grandmothers, great grandmothers and as far back as the knowledge carries them to create a rich and powerful archive on ancestry.  They explore themes of motherhood, migration, cultural differences, beauty standards, queerness, kinship, death and rebirth. Their stories, although from five different countries, intertwine to weave a tapestry of herstory through the African diaspora. Through their testimonies, the viewer discovers that ritual, memory and oral history can challenge the status quo.

This work, made in collaboration with filmmaker Astrid Gleichmann, features the stories of Camalo Gaskin, Tobi Ayedadjou, Niv Acosta, Natalie Anguezomo Mba Bikoro and Fannie Sosa. It has been supported by the Decentralized Cultural Work Tempelhof-Schöneberg, District Kunst und Kulturforderung Berlin and A Prima Vista Filmproduktion.

More about Jessica Lauren Elizabeth Taylor (b. 1984, Florida) is a multidisciplinary artist and community organizer. Her roots are in the Southern United States, born in Mississippi and raised in Florida. Taylor's work manifests through performance, text, dialogue, dance and community building for Black People and People of Colour. She is chiefly concerned with ways to dismantle oppressive institutions and the creation of racial equity in art and cultural institutions. She has performed and presented at the Barbican Centre of Art (London, UK); Chisenhale Gallery (London, UK); Hebbel Am Ufer (Berlin, Germany); Kunst-Werke Institute for Contemporary Art (Berlin, Germany); Sophiensaele Theater (Berlin, Germany);  The Astrup Fearnley Museum of Modern Art (Oslo, Norway); Rogaland Kunstsenter (Stavanger, Norway); and the Irish Museum for Modern Art (Dublin, Ireland). She is currently undergoing a Master of Art in Black British Literature at Goldsmiths University of London. 

* banner photo credit: Mayowa Lynette

Words by Kimberly L. Becker

LANGUAGE CLASS

(written on Qualla Boundary; for C.M.)

Little by little

we are reclaiming the words

Just as the land was once large,

so, too, our voice

Some words lost on the Trail

have been found

They lived hidden in baskets,

in pockets, in the very tassels of corn

(Selu, Selu)

Now the words live again

See? When I say nogwo it is now,

both the now of then and the now

of not yet

The words work secret medicine

and strong, forming us

from the inside out

Language is our Magic Lake--

we walk in limping with loss

and emerge wholly ourselves

When Cecilia speaks

she bears with her

the future of these sounds

Listen: her voice is soft, but sure

Originally published in The Mom Egg Vol. 8 Lessons, 2010