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Art by Rajaa Paixão

Rajaa’s art practice tackles a conceptual and multidisciplinary approach, mainly encompassing sculpture and painting, turned into assemblages.

Having an overly dreamy and idealist nature, her thoughts tend to be too erratic and therefore overlapping, resulting in the abstraction and blurry perception of events, contrasted with the urge to reorder physical objects neatly, and naturally, the need to examine divergent themes.

Rajaa’s work process resembles a reverse visual digression, exploring the limits of her memory and imagination, and sharpening indistinct feelings through a dissected analysis of the subject; with the purpose of demystifying the complexity of an event and minimalising thematic narratives by stripping it to its essentials.

The choice of unconventional and diverse materials results from the study of the topic and the inspiration behind it. The role of a base/structure to hold or present the work is as essential to her as the artwork itself; and she only feels that the work is finished when both elements merge into one sculpture, with a clear correlation between all the displayed pieces.

“Becoming a mother was a massive challenge to reconcile my art process with my new status and responsibilities, and reintegrate creation in my daily life. It also changed the way I look at life and respond to change, something I’m happy to embrace and translate in my future work. I am currently exploring safe materials further, and implementing new techniques, which will allow me to maintain my practice in the presence of my son.”

Selected Projects:

– Left Overs no more

The body of work consists of an installation of 3 pieces encompassing painting (at times using one hand while holding a baby or rocking a pram with the other), and sculpture, using contrasted materials and techniques to create organic and industrial shapes.

Bringing together unfinished works and what seems to be an eternal work in progress, the artworks respond to the theme of Sanity and Motherhood, or what’s left of it.

The result involves a long process of what resembles an artistic therapy, in an attempt to extrude trapped emotions on canvas, morphing unconscious thoughts into a colourful interpretation, repetitive and identical gestures; assembled to create inner order, achieved in short saccadic intervals of interrupted time.

Echoing a prolonged chaotic mental and physical metamorphosis, the pieces reach a state of being almost finished, on the verge of being made sense of, figured out, endorsed; only to be soon hit by a triggered, sudden and uncontrollable wave of irrational fear backed with fury, spreading “like” fire, consuming every bit of vulnerable order recently restored.

The end result betrays an illusory freedom being brutally stripped off, the lie of being a separate and defined entity, provoking a loss of control and irreversible frustration, transferred onto the work.

What seems to be a hanging promise of accomplishment, just like the postpartum body and mind, displays signs of visible damages and cracks, hinting to the extent of the invisible ones.

In the end, each imperfect left over from an unfinished work manages to find balance and a purpose in filling a supporting role in the birth of a new coherent and complete entity.

– Berlin 78 Days Backwards

3 pieces tackling an impossible hypothetical yet actual attempt of a trip, using the power of physics and surrounding forces such as black holes, time and the speed of light.

A story about missing an art trip to Berlin, and deciding to travel virtually. The work result consists of a time machine (with hints to a torture tool from all the waiting and stressing), light and sand incubators, ‘theoretically’ meant to catch the light through a mirror and make the sand level rise, allowing the powers of physics to do their magic, and a black hole sound piece with a distorted recording of the unlimited calls made to the German Embassy.

Instagram @rajaapaixao

Art by Carol Brunelli and Thayná Coimbra

Photographic manifesto Art and Motherhood

We open the door and invite you to see the shadows, shadows from the story of a woman surviving motherhood on a patriarchal society.

We recover what mother-being has of most human and instinctive, we search for the access to our lost ancestry.

Surviving motherhood on a patriarchal society is painful.

In this society, being a mother means always feeling guilty and tired, to do the job of a whole of society alone.

But beyond the oppressions being a mother is also being able to fight, to survive, to reinvent oneself and to reconnect to our inner nature and strength.

These photos are a manifest, they invite you to look at mothers with compassion, humanity and love.

They are an instrument used to seek a new identity, they deny the bourgeois myth of the all-loving, all-forgiving and all-sacrificing mother and try to reach that touching point of two distinct beings with their own dreams and wishes, passions and fears.

They bring humanity back to the women-mothers, putting them back in focus, the place where they belong in life.

We believe photography can transform and empower the way women see themselves as a woman and as a human being. We hope that through this personal experience of patriarchal oppression we can reach other women and mothers, and that together we can be stronger. Art can be powerful.

Let us rise.

The Muteness and the Scream
Carolina Brunelli

I have always believed in Art with a purpose. I have always believed that I needed a motive, a driving force of social change for my creative process to make sense. When I saw myself pregnant that feeling had simply gone. Perhaps by irony, the patriarchal oppression that I have never acknowledged in my own life, paralyzed me and the torrent of the classical dual feelings of motherhood threw me in a black hole. I no longer saw myself as an individual, a woman, an artist, nor could I see myself as an autonomous being.

This process of turning back to my old self took me three years. It was three years of creative labour to get through the cowardice of patriarchy that oppress women, creating an invisible work force for the perpetuation of the human life, shutting up feminine strength and independence. However, in my situation there is no specific villain, there is no false dichotomy of good and evil, only the branding print in the collective subconscious that women are responsible for raising their children.

During those three years, I had lost my identity and did not know where to start to get it back. That is until I came across “an Artist Residency in Motherhood”. This residency helped me uncover that I could unglue myself from the symbiosis that is to be a mother and retrieve my identity. My driving force of creation was slowly coming back. It has shown me that Motherhood is a fertile ground for social change and I could finally see that I was not the only one feeling this particular way. Through different readings from other artist mothers, I realised that what I was actually searching for was not an excuse to work, but a good enough excuse. It was not about the patriarchal oppression of feminine exclusivity in raising the children, nor the unfair share of the children´s care, even less the lack of the State support in the form of day-care and schools. It was finally clear to me, that I muted myself because of the lack of recognition of the artistic labour as a worthy enough labour for me to outsource the daily care of my son.

I´m an artist and I´m a woman. I believe in Art as a living force of change. For me, being a mother was not only to yield to all the patriarchal conjecture but to disbelieve in all those special values that made me who I was before, nullifying my own self. Using Art as an instrument and the Residency as catapult, I could see myself as a woman again, independent and above all as a capable individual.

I believe now that I should share this overwhelming experience of imprisonment and freedom. I should go out of my cocoon and show, through everything that I lived the importance of dealing with the Motherhood thematic in Arts. Motherhood needs to cease to be a taboo, to be unwelcome and shameful and can finally reach femininity´s real symbolism of ancestry strength.

Thayná Bonin, a special old friend, who is such a sensible photographer, suggested that her and I could co-create a project to deal with all these issues. Therefore, we have created a photographic manifesto to expose Motherhood in its deepest rawness, awkwardness and beauty.

L.B. Williams

WHEN YOU WERE WILD

(after Louise Erdrich)

When you were far away

snow fell green

Where trees were white hoary mountains

When three hundred year old men

could sleep beneath eagles

and become boys again

When I called to you

my voice at first a whisper

When all the mandrake roots were

taken from the earth

When a wind sighing chant

brought you to me.

Originally published in Mom Egg Review Vol. 13

L.B. Williams is the author of, Letters to Virginia Woolf, (Hamilton Books, 2005). Her poetry has appeared in such publications as Washington Square, Mom Egg Review, Sunrise from Blue Thunder (A Pirene’s Fountain Anthology). She has also published two poetry chapbooks, Sky Studies, (Finishing Line Press Fall 2014), and The Eighth Phrase (Porkbelly Press, October 2014). A new poetry chapbook, In the Early Morning Calling, is forthcoming this year from Finishing Line Press. She is Professor of Literature at Ramapo College of New Jersey. www.letterstovirginiawoolf.com