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The Embodied Artefact: A Nomadic Approach to Gendered Sites of Reverence through an Interdisciplinary Art Practice Author Rochester, Emma Christina Lucia Published 2017 Thesis Type Thesis (PhD Doctorate) School Queensland College of Art. DOI https://doi.org/10.25904/1912/166 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/367914 Griffith Research Online https://research-repository.griffith.edu.au The Embodied Artefact: A Nomadic Approach to Gendered Sites of Reverence through an Interdisciplinary Art Practice Emma Christina Lucia Rochester BA (Hons) BFA (Hons) Queensland College of Art Arts, Education and Law Griffith University Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy February 2017 1 2 Abstract This doctoral project, “The Embodied Artefact: A Nomadic Approach to Gendered Sites of Reverence through an Interdisciplinary Art Practice”, moves beyond normative understandings of pilgrimage, God, and artistic scholarly research. Using a contemporary art lens, I travelled in a long durational performance to a multitude of international pilgrimage sites where God-as-Woman is, or has previously been, revered and respected. By moving towards and experiencing not just one destination but many, I have challenged the traditional paradigm of pilgrimage. In doing so, I have undergone a meta-experience whereby visitations to these psycho-spiritual terrains came together as a composite of embodied experiences. This blurring of boundaries seeks to go beyond the particularities of one newly revised gendered site of reverence to consider a process of pilgrimage that moves into and becomes nomadism, thereby developing significant new understandings across the fields of contemporary art practice and pilgrimage studies. Using my body as a core focus in which embodied practice is not just academic but holistic, I ventured forth on a journey of discovery and affirmation that spanned over three years and numerous countries. During this journey, my woman’s body became the connecting point between pilgrimage sites and artist residencies in a dynamic act of physical and visual activism. I generated art works en route and in retrospect, translating my cognitive felt experience of gendered sacred landscapes and the aesthetic architectural and sculptural elements within them into tangible participatory artefacts. I combined feminist scholarship with experiences of visits to the sites themselves through the lens of the artist thereby generating a viable strategy for the advancement of imagery pertaining to God-as-Woman as an empowering motif. Specifically, my body became a nexus through which explorations of imagination, memory, and sensorial understandings of each specific gendered landscape and the meta-experience as a whole were filtered and structured into multilayered 3 works. Each artefact created is composed of fibre forms, drawings, textile design, sculpture, video art, and performance artefacts, so that my context-based practice for this PhD project also transcends disciplines. “The Embodied Artefact” draws on the work of women investigating feminist spiritual concepts, such as artists Mary Beth Edelson, Annette Messager, and Rebecca Horn, as well as the research of theorists such as Carol P. Christ, China Galland, and Rosi Braidotti. The project is conceived as a contemporary blending of performance and artefact, referencing the past in order to renew God-as-She and prevent it from once more dissolving into abstract male-orientated religious dogmas. By searching through artefacts and texts for specific sites and forms of God-as- Woman, I pay tribute to both the women of the past and the women who continue to uphold non-normative religious scholarship today. Mediating scholarship, intellectual resources, and personal embodiment, I make my experiences available in the form of cultural artefacts. Thus, the research and artwork completed for “The Embodied Artefact” helps to highlight the sacrality of the sites visited, and the centering of women in spiritual contexts, in both imagination and in the flesh. As a consequence of the research process, this exegesis and the associated exhibitions provide significant additional reflective data on the relationship between affirmative ethics and action, landscape, place and feminisms in regards to a feminist thealogical future. 4 5 Statement of Originality This work has not previously been submitted for a degree or diploma in any university. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made in the thesis itself. _____________________________ Emma Christina Lucia Rochester 6 7 Table of Contents List of Illustrations 10 Acknowledgement of Assistance 19 Chapter 1 Introduction–Crossing the Threshold into Thealogical 22 Terrains Chapter 2 Embodiment–A Haptic Methodology 41 Chapter 3 Pilgrimage–A Choreography of Mobile Resistance and a 79 Source of Sustenance Chapter 4 Affirmative Ethics–Flourishing as a Means of Negating 107 Theological Meta-Narratives Chapter 5 In Her Hands–Negotiating Artistic Production as Activist 151 Intervention. Chapter 6 Conclusion–Memorial, Spiritual Recreation and Personal 220 Iconography as Active Remembrance Bibliography 242 8 9 List of Illustrations Figure 1 Mary Beth Edelson, Grapceva Neolithic Cave Series: See For 23 Yourself 1977, Artwork on photograph using oil paint, ink, and china marker, documentation ritual performance on the island of Hvar, Former Yugoslavia, 50.8 x 50.8cm. Image courtesy the artist. Figure 2 Johanna Constantine Bianca Casady Kembra Pfahler, Antony 23 Hegarty and Sierra Casady, Future Feminism Video 2014. Photo courtesy The Hole NYC, New York. Figure 3 Johanna Constantine, Bianca Casady, Kembra Pfahler, Antony 24 Hegarty and Sierra Casady, Gallery View of Future Feminism 2014. Photo courtesy The Hole NYC, New York. Figure 4 Johanna Constantine, Bianca Casady, Kembra Pfahler, Antony 24 Hegarty and Sierra Casady, Gallery View of Future Feminism 2014. Photo courtesy The Hole NYC, New York. Figure 5 Johanna Constantine, Bianca Casady, Kembra Pfahler, Antony 25 Hegarty and Sierra Casady, Future Feminists’ XI: The Subjugation of Women and the Earth is One and the Same 2014, rose quartz and engraving, 127 x 127 x 190.5cm. Photo courtesy The Hole NYC, New York. Figure 6 Audrey Flack, American Athena 1989, patinated bronze with 48 gilded ornament, 95.88 cm high. Photo courtesy the artist. Figure 7 Audrey Flack, Egyptian Rocket Goddess 1990, patinated bronze. 48 106.68cm high. Photo courtesy the artist. Figure 8 Nancy Spero, Notes In Time On Woman 1979, handprinting, 51 gouache, typewriting, collage on paper, 1 of 24 panels, 51 x 6398cm. Image courtesy The Estate of Nancy Spero. Figure 9 Nancy Spero, The First Language 1981 (Panel 8), handprinted 51 and painted paper and handprinting on paper, 22 panels, 50.8 x 190 feet. Image courtesy The Estate of Nancy Spero. Figure Mary Curtis Ratcliff, Danuta in Malta 2002, artwork on 52 10 photograph, pigmented inkjet print. 60.96 x 66.04cm. Figure Mary Curtis Ratcliff, Danuta Looking 2002, artwork on 52 11 photograph, pigmented inkjet print. 91.44 x 55.88cm. Figure Meinrad Craighead, Mother and Daughter 1981, oil painting, 54 12 dimensions unknown. Figure Sonya Yong James, Mother and Child 2009, diptych, various types 54 13 of wool felt, 69 x 125 x 4cm. Photo courtesy the artist. Figure Eulalia Valldosera, Maternal Bond (Family Ties II no.1) 2012, 55 14 print on barite paper, 6mm forex, aluminum frame, 111 x 163.2cm. Photo courtesy the artist and Carroll /. Fletcher. Figure Sally Smart, Family Tree House (Femmage, Shadows and 55 15 Symptoms) 1999–2002, synthetic polymer paint on felt and fabric with collage elements, size variable (10 x12m approximately). Collection of the National Gallery of Australia. Photo courtesy the artist. 10 Figure Lorraine O'Grady, Cross Generational 1980-1994, cibachrome 57 16 diptych one of 16 in the series Miscegenated Family Album. Image courtesy Alexander Gray Associates, New York. © 2017 Lorraine O’Grady. Figure Ann Hamilton, Near Away 2013, paperback book slices, 65 17 cheesecloth, string, bookbinder's glue, methyl cellulose, steel wire, newsprint, abaca paper, kraft paper, 62.23 x 50.8 x 11.43cm. Photo courtesy the artist and Fabric Workshop and Museum, Philadelphia. Figure Faith Wilding, Sacrifice 1971, room-size installation at the 67 18 Feminist Art Program studio in Fresno, CA, cast life-size figure, cow guts and blood, dead bird, kotex, plastic flowers, candles. Participants were invited to light candles on the altar. Photo courtesy the artist. Figure Erika Hoffmann, Paradise and the Fall 2013, image panel, 68 19 dimensions variable as part of a larger-scale multi-panelled installation. Photo courtesy Sammlung Hoffmann, Berlin. Figure Kiki Smith, Pyre Woman Kneeling, Pyre Woman on Haunches, Pyre 69 20 Woman with Knees Extended 2002, bronze and wood, 142.2 x 149.9 x 72.4cm per woman. Figure Hayv Kahraman, Mobius Body for Extimacy 2012, installation and 72 21 detailed view. Photo courtesy artist and The Third Line Gallery, Dubai. Figure Hayv Kahraman, DisEmbodied.8. 2012, oil on panel with rawhide 72 22 insert, 121.92 x 187.96cm. Photo courtesy the artist and The Third Line Gallery, Dubai. Figure Roni Horn, ‘Untitled ("A dream dreamt in a dreaming world is not 82 23 really a dream, ... but a dream not dreamt is.”)’ 2013, solid cast glass with as-cast surfaces, 10 parts with heights ranging from 48 to 49.5cm and diameters range from 86 to 91cm. For exhibition On the Road 2014, installation view, Santo Domingo de Bonaval, Santiago de Compostela, Spain. Photo courtesy Stefan Altenburger Photography Zürich. Figure Roni Horn, ‘Untitled ("A dream dreamt in a dreaming world is not 82 24 really a dream, ... but a dream not dreamt is.”)’ 2013, solid cast glass with as-cast surfaces, 10 parts with heights ranging from 48 to 49.5cm and diameters range from 86 to 91cm. For exhibition On the Road 2014, installation view, Santo Domingo de Bonaval, Santiago de Compostela, Spain.
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