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|Title: ||The Maternal Abject|
|Authors: ||Astore, Mireille|
|Keywords: ||motherhood;abjection;personal;photography;photomedia;digital photography;Madonna and child;women;art;Julia Kristeva;Mon Hatoum;Fiona Hall;Cindy Sherman;Gregory Crewdson;Mary Kelly;Frida Kahlo|
|Issue Date: ||2001|
|Publisher: ||University of Sydney. Sydney College of the Arts|
|Abstract: ||Abstract In this Research paper and through my Studio practice, I search for what binds me and separates me from my children. I investigate abjection theories through Julia Kristeva and Georges Bataille and focus on a particular form I call the maternal abject. This occurs at the time an infant separates from its mother, acquires language and maps its own body. I am proposing that the mapping of the body is the point at which an individual perceives social structures and learns about prohibitions and taboos, hence the abject. I also investigate the relationship between the maternal abject and the artistic process through the writings of Kristeva. Abjection is illustrated through the works of Mona Hatoum, Fiona Hall, Hieronymus Bosch, and Paul Quinn. The maternal abject is illustrated through the works of Mary Kelly, Cindy Sherman, Frida Kahlo, Louise Bourgeois. A possible reading of the maternal abject is given through the works of Gregory Crewdson, Joel-Peter Witkin and Francis Bacon. The studio work is in two parts. The first part is a series of layered photomedia images. The layers consist of a naked female body, which has been merged with Renaissance like Madonna and Child images. Texture, such as stones and spikes, is embedded to signify the fragility and strength of the body. Children are also present and are merged with the adult female body. All images are cradled in a darkened atmosphere in order to draw the viewer inside the images. The second part is a bassinet, which has been drilled and pierced by thousands of pearl-headed steel pins. This piece signifies the dichotomy of the motherhood experience, which on the one hand is rewarding and fulfilling and on the other an abject and isolating experience of no apparent economic value. The two parts interact so that the bassinet piece with its threatening exterior acts as an aggressor towards the photomedia images.|
|Rights and Permissions: ||Copyright Astore, Mireille;http://www.library.usyd.edu.au/copyright.html|
|Appears in Collections:||Sydney Digital Theses (Open Access)|
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