BIRDMOTHER (2019)

Papier mache, chicken wire, wood, paint

180 x 100 x 75cm

This large sculpture was created for a group exhibition that involved several pieces that acted as both sculptures and sections of a mini-golf course, playing with the idea of usefulness in art. The work was initially created as an ode to the usefulness of the femme body, as a nurturer and as a child bearer, the work was developed further after allowing for human interaction with the sculpture. During the exhibition, the works were able to be used in anyway the participants’ desired, although they were directed to use them as mini-golf obstacles. People’s reaction to this work resulted in some unexpected acts of violence towards the piece, perhaps due to golf-related frustration. Bird Mother took on new meaning, being directly manipulated by its environment and use. It was discovered that art objects simply exist in a space, particularly interactive ones, and the participants decide the meaning and usefulness of the work. In this case, the usefulness of the work was revealed to be that it worked to showcase the lack of respect that the individual has for the pregnant femme body. Although individuals were invited to interact, they were not invited to abuse, the sculpture itself does not insight violence. This work is crucial in understanding the underlying violent desires that we harbour against the femme body, that show themselves in certain circumstances and attach themselves to certain bodies.