I wish to discuss female sexual aggression and dominance. I want to draw out my own queer body, which expresses its sexuality through diverse genders. I want to address the fear, shame, blockages and discoveries which accompany a series of coming outs around gender and sexual expression. I want to do this in the context of a feminist show because I also want to explore and address the fear of no longer belonging within feminism, of being a ‘bad feminist’. Of returning to the body and finding it changed and changing; an inconveniently uncategorizable process, and so linked to a process-based making.
Uncertainty, passion, expression, weight, effort. Self made, self defined.
And if I can only come when I close my eyes and my cock is half way down your throat, am I still a feminist?
When you do not see your body, desire or sexuality represented, it is imperative that you represent it yourself, and as honestly and in as much of its complexity as you possibly can.
The problem is still the body. My body is queer, kinky, strong, genderqueer, bolshy, sick, sensitive and hungry. It is excessive and intuitive and gut driven. It is all the things it is not supposed to be in a cool, irony driven art world. My life has been a series of coming outs. Feminist, artist, lesbian, queer, femme, dominant, activist, masculine, brute. The work I want to offer for this show is another coming out; of my body and my mission to explore its many rooms, through figurative and abstract drawing. My body and the things that are attached to it which are not imagination; parts of my body which you cannot see but I can feel.
I have always identified as a feminist. I believe that feminist thought, in its centering of the body, has the capacity to disrupt phallogocentric ideals of rationalism, objectivity and straight lines which have no relation to any body. And yet the body feminism represents can, and has, excluded many embodiments that still need and deserve its strength and protection. My feminism is queer, femme, genderqueer, body and sex positive, and includes all who identify as women, have experience being treated as women, and who claim femininity and femme as a place from which to speak.
I find myself feeling like I need to rein things in; rub out the finger prints on the edges of drawings, keep a clean space around the edges and select less rather than more. Galleries are white, clean, and there is an assumption that if you put a lot of things in it, you didn’t make enough decisions. Even though mass is a very deliberate and bold decision. It’s not that you just accidentally ate too much; it’s that you want to feel your body and this is the only way you know how to find your way back to that; to say yes to everything you want to eat. It’s not that you are not bothering to be feminine; it’s that you always felt secretly sexy when you are strong and lifting and building your own way, regardless of whether anyone wanted that. It’s that you are trying to explore something which doesn’t want to be regulated.
Artists make many things, but when we show in galleries, we hide the many in favour of the one final work or body of work. In doing this we exclude failure, accident and the trying energy of practice; the fact that making involves many repeated tryings and failings.
The work I want to make for your show is about being an aggressive, queer, tangled up, sexual, dominant emerging from fear and a busting-out genderqueer feminist person. I propose to make a large-scale drawing on the back wall of the gallery, compiled of many pieces, which shows body, appendages, fucking, being, remembering, becoming. The drawing will be assembled of many pieces which move through figuration and abstraction. The drawing will also be made from partial sculptures, which will extend the work into three dimensional space. I want to acknowledge the slippages, strangeness and mass of simultaneous embodied experience in sexuality and gender. I want to cease censoring and controlling the body and also the work, by including a mass of drawings, experiments and trials.
The drawings and sculptures I am proposing use my body as subject; active, embodied, messy, aggressive, self-formulating subject. The marks and gestures draw and repeat actions that are made in sex; in battling this body, these genders, this sexuality, out of itself. Through intimacy, reflection and interaction with itself and other bodies, it becomes known. Through the process of making, it becomes visible. But what is represented is from the inside. I cannot speak for anyone else, only for me, from me. In this I reflect the highest value of consent; that to be a fully consenting adult, one must be fully informed, and know oneself as fully as possible.
I am involved. I am implicated.
Writing around Self-Portrait, a collaboration with Creek Waddington: