Dissertation Report: Transformation Through Body Sculpture By Marly Baker Intro This research report details resources accessed to date, supporting an exploration of ways in which artists use body sculpture to embody transformation. Body sculpture, is a piece of sculpture which is worn by the artist or a performer. It can extenuate already existing bodily features, or can create entirely new ones. The body adornment can be worn in both a static sense, or can induce movement whilst on the body. I propose to examine this area of practice through the lens’ of queer theory and shamanism. It is the connection between these two concepts that will take centre stage in my dissertation. These resources primarily support and expand my critical thinking, in terms of artwork, with particular reference to the art practice of Nick Cave, Rebecca Horn and Matthew Barney. Delving into the possible queer ideology behind the work of these artists, will grant access to understanding their goal to push against the norms of so called ‘normal society’ and create a space for an idea of ‘otherness’1. The second key focus point of this report is - the historical and contemporary practice of shamanism, as another approach to bodily transformation. With the intention to heal and/or change the reality experienced by others and the transformation of one’s self, the artist’s self. This initial theoretical groundwork allows me to build and expand upon my understanding of these artists and theories detailed above, whilst also interrogating my own studio practice. Report Shamanism Shamanism is a ancient, transformative spiritual practice. A shaman believes everything in this world consists of a spiritual essence and was the link between our world and the spirit 1 Illinois Library, Illinois Library (2020) <https://guides.library.illinois.edu/queertheory/background> [Assessed 31st March 2021]. world that provided people meaning in life, and how they navigated within the world. The idea of the shaman was to provide this physical link between the two worlds, one world spoke to the next through this selected person. The role, practised and performed through an array of metaphysical ceremonies and healing experiences.2 Now in Western society, the ritual of shamanism has been obliterated and no longer exists in the same way as it did in our ancestors’ time. The rise of capitalism, caused such spirituality and mystic connection to become a threat to this new socio-political construct, therefore was exiled quickly out of our society, and we lost touch with our connection to the spiritual realm. However, this is not the case for the whole of the present day world, “In most contemporary non-Western cultures, some form of shamanism (however marginalized) has always remained.” 3. The modern day West, now turns to creatives, such as artists, to create a replacement connection to the idea of an ‘other worldly’ experience. The artist, now becomes a modern day version of the sacred shaman. Artist Joseph Beuys, known in art history as “the most famous neo-shaman” 4, he created performances, ceremonial like, using power-driven material to aid his performance to heal these external negative forces he identified in the world. 5 One such works, was that of ‘I like America and America Likes me’.6 Beuys obtained solid faith in art’s healing powers, and believed in his own ability to repair, what he deemed broken. Similarly, Louise Bourgeois body of work inhabited the concept of healing. Her process through creating, enabled her own self-healing, allowing her to overcome her past 2 Dr. Louis Langanà, The Artist-Shaman and Privitivism (2010) <https://core.ac.uk/download/pdf/132619494.pdf> [Assessed 2nd April 2021] 3 David Levi Strauss, American Beuys "I Like America & America Likes Me" (1990) < http://www.neugraphic.com/beuys/beuys-text2.html> [Assessed 3rd April 2021] 4 David Levi Strauss, American Beuys "I Like America & America Likes Me" (1990) < http://www.neugraphic.com/beuys/beuys-text2.html> [Assessed 3rd April 2021] 5 Tess Thackara, Why Shamanic Practices Are Making a Comeback in Contemporary Art (2017) https://www.artsy.net/article/artsy-editorial-shamanic-practices-making-comeback- contemporary-art [assessed 2nd April 2021] 6 David Levi Strauss, American Beuys "I Like America & America Likes Me" (1990) < http://www.neugraphic.com/beuys/beuys-text2.html> [Assessed 3rd April 2021] traumas in life. She had a ritualistic relationship with drawing, allowing her to physically create and release pent up emotion.7 I will research the role of transformation in shamanistic rituals and use this knowledge to examine the work of contemporary artists working with transformation through body sculpture. Queer Theory Queer theory derives from many dominant theories, such as; “feminism, post- structuralist theory, radical movements of people of colour, the gay and lesbian movements, AIDS activism, many sexual subcultural practices such as sadomasochism. It wasn’t until the 1980s - when protestors retaliated against the Government, due to their absolute absence of care and support towards the AIDS epidemic – did the ideology of Queer theory, start to get it’s deserved recognition in the UK. Protest groups took power into their own hands, in order to fight for their human rights. This shone a light upon these minority groups, and in doing so, helped interpret what a “non-normative option to the more traditional identity politics and marginal group creations” 8 was. In the 1990s, a newer version of queer theory was founded, it paved the way for ideas of non-conformity to the normal, there was more out there, more possibility in terms of identity, sexuality and gender. It was to challenge the idea of ‘normal’ that society had created, and to uproot binaries in order to abolish discrimination and injustice.9 Heteronormativity is a phrase encapsulating the way in which our lives are solely centred around heterosexuality being the ‘right’ way.10 It is engrained into us from the very start of our lives that this is the 7 Nadja Sayej, Inside the ‘healing’ Louise Bourgeois exhibition you can experience online (2020) <https://www.theguardian.com/artanddesign/2020/apr/07/inside-the-healing-louise- bourgeois-exhibition-you-can-experience-online> [Assessed 3rd April 2020] 8 Illinois Library, Illinois Library (2020) <https://guides.library.illinois.edu/queertheory/background> [Assessed 31st March 2021]. 9 Illinois Library, Illinois Library (2020) <https://guides.library.illinois.edu/queertheory/background> [Assessed 31st March 2021]. 10 Lauren Berlant and Michael Warner, 'Sex in Public', Critical Enquiry, 24. 02 (1998), 547- 566 (p. 548). ‘normal’. To go against this or any other kind of normal? You are met with questions and interrogation as to where you belong, where you fit into this world. A completely constructed authority, creating tension and limiting “both straight and gay individuals, through institutional arrangements and accepted social norms”. 11 To be heteronormative, at the end of the day, is to have a privilege. A privilege, most heterosexuals might even be blissfully unaware of.12 The queer community ask not to be embraced by society, but to reject social and political systems of segregation and removal that create this standardized norm.13 Queerness challenges the defined categories of the ordinary14, and it creates a space for the idea of something ‘other’. Artists such as Orlan, use physical transformation in order to pose questions upon societies norm. In one of her works, she went through a series of plastic surgeries in order to alternate herself into an amalgam of women’s faces from some of the most prestigious historic artworks in the world. This was to enable her to create the ‘perfect’ look, inspired by these women. 15 In doing such extreme bodily transformations, she wanted to query humanity’s issues, in particular relation to the body, being a woman and female creative in today’s society.16 In the 1990s, Derek Jarman paved the way for 11 Illinois Library, Illinois Library (2020) <https://guides.library.illinois.edu/queertheory/background> [Assessed 31st March 2021]. 12 Lauren Berlant and Michael Warner, 'Sex in Public', Critical Enquiry, 24. 02 (1998), 547-566 (p. 548). 13 David J. Getsy, Queer, Documents of Contemporary Art (London: Whitechapel Gallery and The MIT Press, 2016), p. 13. 14 Annamarie Jagose, Queer Theory, Vol 5, (Charles Scribner's Sons, 2005), in New Dictionary of the History of Ideas, <https://go.gale.com/ps/i.do?p=GVRL&sw=w&u=uiuc_uc&v=2.1&it=r&id=GALE%7CC X3424300651&asid=3eb1faca847c7129e7e0242dab23b585> [4th April 2021], p. 1980. 15 Carey Lovelace, 'Orland: Offensive Acts', Performing Arts Journal, vol. 17. no. 01 (1995), 13-25 (p.13), https://www.jstor.org/stable/3245692?seq=2#metadata_info_tab_contents [assessed 4th April 2021] 16 CLOT, ORLAN, beyond any conception of the body (2019) <https://www.clotmag.com/biomedia/orlan-beyond-any-conception-of-the-body> [4th April 2021]. Queer Cinema with his rich cinematography.17 His work continually, brings historical queer characters back to life. Jarman bases his artworks around how these peoples used to live their lives, in order to educate about existing in a world of catastrophe. By using a queer lens, he creates a space to educate people and “demand social change”. 18 The body sculpture practice of the artists I am researching has a strong resonance with concepts such as ‘otherness’, ‘outsiders’ and human rights. By learning about queer theory, I hope to better understand the way these artists direct their art towards drawing the viewer into this conceptual territory. Focused Artists Matthew Barney Matthew Barney creates fantastical fantasy art movies, where he transforms himself into characters, in order to underline deeper issues within the current world. One of his best known works, is the series of movies, ‘The Cremaster Cycle’.