The Chocolatiest Sex

'The Chocolatiest Sex' (2012) appropriated doll, condom, chocolate

Nina Power, One Dimensional Woman:

"Almost everything turns out to be 'feminist' - shopping, pole-dancing, even eating chocolate... it's every woman for herself, and if it is the Feminist woman who gets the nicest shoes and the chocolatiest sex, then that's just too bad for you, sister... to Freud's infamous question, 'what do women want?' it seems, then, that we have all-too-ready an answer. Why! They want shoes and chocolate and handbags and babies and curling tongs washed down with a large glass of white wine and a complaint about their jobs/men/friends... but a hip young feminist must have her indulgences... chocolate has come to represent that its female devourer is a little bit, well, 'naughty'... chocolate represents that acceptable everyday extravagance that all-too-neatly encapsulates just that right kind of perky passivity that feminized capitalism just loves to reward with a bubble bath and some crumbly cocoa solids... what makes women happy? Ask them and they'll reply, in roughly this order: sex, food, friends, family, shopping, chocolate."

The Oedipal Triangle, Capitalism and Consumer Feminism

Developing my ideas upon desire, I began to reconsider the ideas of Lacan, and, after re-reading 'Sexuality and its Discontents', the theories of Deleuze and Guattari, particularly in relation to the connections between desire and capitalism. They argue that capitalist society imposes constraints to regulate "allowed" desires - those which centrally relate to the reproduction of the family. uch psychologists argue the Oedipal triangle, a concept introduced by Freud, in which the child comes to sexually desire the parent of the opposite sex, and simultaneously resent the parent of their own, 'is the personal and private territoriality that corresponds to all of capitalism's efforts at social reterritorialisation'; as such, the family framework is trapped within the capitalist concepts of sexuality, which in turn distort the production of desire, and is 'complicit with how capitalism has constructed social order'. 

Reconsidering Maslow's Hierachy of Needs, I started to contemplate the manner in which we are marketed products and services based upon our desires, and our need for fulfilment and 'self-actualisation'. Reading articles upon "Cupcake Feminism" and how to "brand" modern feminism, it appeared to me that contemporary feminist thought seemed almost like a strategy to market a product - as Nina Power points out 'the height of supposed female emancipation coincides so perfectly with consumerism', presenting the 'remarkable similarity between 'liberating' feminism and 'liberating' capitalism'. As the The F Word states 'we are not interested in pushing forward a hip, 'fashionable' kind of feminism', and these ideas around consumerism and capitalism, combined with my previous work upon sex dolls and the sex industry could be an interesting way to develop my practice.
 

'The body of a woman exists in the battlefield of male control'

Reading through various Guardian articles in relation to the Slut Walks, I came across one reporting upon the Newcastle version of the march. Referencing the speech given by organiser Lizi Gray, she claims "woman have the right to dress how they like and not be attacked", announced to a crowd carrying signs baring slogans such as "My Clothes Aren't My Consent." The emphasis upon clothing in relation to the body reminded me of the current Sarah Lucas exhibit at the Sadie Coles Gallery, in which clothing such as tights are used to represent the female body, and, in my opinion, reflect the textural and sensual qualities of skin. Works such as 'Make Love', left, appeared to me like a play upon the controversial furniture of Allen Jones, and yet simultaneously managed also to tie the female body to domestic objects, in a sense merging them into one. Strong management of the space enabled the pieces to interact with each other, and gave pieces like 'Tit Teddy', below right, a sense of narrative - the work seemed almost like a child had misplaced it on the window sill, and it was simply waiting for its owner to return.

While I was not particularly pleased with the outcome of my previous experimental works around language, I found it curious that I had returned to childhood toys, and began to rethink my work utilising dolls in relation to the human form. Though I had hoped that by merging human speech with almost alien objects I could transform an object of comfort into one which confronts and challenges, it actually forced myself to reconsider the Slut Walks, and to question to what extent they accurately represented women's liberation and contemporary feminism; they seemed to suggest that rather than allowing others to see you as an object, you should instead make yourself an object first, a move which I saw as more of a self-fulfilling prophecy than a celebration of a liberated body. In relation to language, I'm particularly inspired by Lucas' use of a title as anchorage, steering us to consider the work in a way perhaps not initially considered. Playful use of language made me think of Louise Bourgeois' 'Fillette'; 'playing on the ironic contrast between the title and the work, Fillette [little girl] represents a penis', a 'disjunction of word and object'. I feel her influence can also be seen in the sculptural work below, which I believe lies somewhere between her pink fabric forms such as 'Arch of Hysteria' and the 'Uro-Genital Systems' of Kiki Smith. While I had originally intended for the figure to consist of breasts and legs, reducing the female form to the body parts frequently referenced as targets by Slut Walk banners and slogans, as the piece developed I felt it seemed to take on the suggestive of ovaries and a uterus - perhaps reflective of issues prevalent in previous waves of the feminist movement, such as abortion, birth control and biological sexual difference. As my previous doll works have been on a far smaller scale, I feel a more life sized figure manages to relate my enthusiasm for childhood objects with their adult counterpart, here seeming disturbingly similar to a sex doll. Considering how to install the piece, my partner suggested hanging it upside down, and through this a phallic form was created, managing to visual express the idea of the woman "being" the phallus through making herself an object of desire, while simultaneously referencing both the male and female form, and presenting the body as 'a site for deployment of power relations'. I feel that through taking my influence from language, and creating objects which act as a play upon form, I can combine my interests in the patriarchal and phallocentric nature apparent in a number of aspects of society with my desire to "play" with appropriated quotes and phrases to create visual manifestations of language.

'The body of a woman exists in the battlefield of male control' (2012) tights, cotton wool, appropriated textiles

Street Harassment and Slut Walks

The F Word, a blog 'dedicated to talking about and sharing ideas on contemporary UK feminism', last week posted an article regarding women's views on 'lads mags'. Describing our society as a patriarchy and 'culture that persistently objectifies women', I was keen to think about the manner in which women are presented as sexual objects and the effect this has upon both ourselves and society as a whole. Everyday harassment is a concern addressed by BBC Radio 4's 'My Name Is Not 'Hey Baby'', a programme which discussed such issues surrounding street harassment and where men and women draw the line 'between a flirtatious comment and unwanted attention', while online communities such Hollaback! London offer a space for victims to tell their stories, and, I feel most importantly, bring light to events that occur daily and yet are often overlooked.

I myself was present at the Newcastle Slut Walk in 2011, not as a protester but the document the event - the walk, and others around the world were organised in reaction to comment from a policeman in Toronto, stating "women should avoid dressing like sluts in order not to be victimised." Both women and men took to the streets dressed as "sluts" to argue that women have to right to dress as they choose and not feel they are to be blamed for sexual harassment, assault and rape. Visiting the  Gillian Wearing at the Whitechapel Gallery, works such as her iconic series 'Signs that say what you want them to say, and not Signs that say what someone else wants you to say' bought to mind the signs of the Slut Walkers, and of Suffragettes before them. Wearing's work forces us to consider how we present ourselves to the world, whilst also often presenting a chance to take on a different role through works such as 'Confess All On Video. Don’t Worry, You Will Be In Disguise. Intrigued? Call Gillian… (1994)', in which the use of a mask allowed speakers to voice secrets in anonymity. piece '10-16' in which adults lip synch the voices of 7 adolescents who discuss their lives and concerns. A separation between voice and representation is something I am keen to explore in my own work, the beginnings of which can be seen in the experimental work below. Here, developing from previous ideas of desires, security, comfort and childhood, I manipulated appropriated children's toys to incorporate text from the signs of the Slut Walkers. Toys functional as transitional objects in childhood development, and, as Winnicott proposes, takes the place of the mother; the realisation that the mother is separate from the child causes a sense of loss, and such toys allow the child to "create" what it desires. The lack of phallic signifier eradicates a sense of a gendered speaker, and thus the direct address of their messages are interchangeable. Similar to my earlier patchwork quilt, I hoped that the combination of objects traditionally associated with comfort and confrontational, and even sexually suggestive, text would present an uncomfortable viewing position, and blur the line between speaker and representation.

I felt that perhaps these text pieces were too literal; use of slogans from a specific event gave them a very fixed context, and it was commented that they seem almost like advertising, in which the audience is hit with the message and "get it", without them, or the work having to do more. While the idea of phallocentrism, particularly in relation to childhood, is something I want to develop in my work, I have to question whether such blunt text is the most accurate way to explore such thoughts - these pieces, after all, present a view which the majority of my audience will already hold, and I hope to create works which challenge and question rather than reaffirm. 

Maslow's Hierarchy of Needs

After a discussion upon my former text pieces, I started to realise the emphasis in my work upon desire, and of Maslow's Hierarchy of Needs, a pyramid of human desires, right, beginning with the Physiological, and concluding in Self-Actualization. Reconsidering the use of bedding as an instigator for feelings of security, and the play upon words presented by Othello's Iago, in the idea of a woman only working when she goes to bed, I began to examine the image of the dormant, sleeping woman apparent throughout Orientalist paintings, and this juxtaposition between the bed as a place of security, and a place in which the woman becomes a spectacle and victim of the male gaze. We are forced through such works as Jean-Auguste-Dominique Ingres 'Le Grande Odalisque' to identify with the male as controlling the narrative, and watching such an "unconscious other". This notion of the female "performing the spectacle" links to the performativity of language, which, as Lacan suggests, constitutes desire, predicated upon absence or lack. With these ideas in mind, I created the piece below, appropriating a line from The Smiths' 'Well I Wonder', a song discussing the painful longing of unrequited love - after a tutorial in which we considered the ability of music to identity with both and male and female audience regardless of a gendered speaker, I felt that a lyric written by Morrissey, a man who has never publicly stated his sexuality and claims 'I was never a sexual person' would be particularly relevant. The contradiction between the comforting bedding with the almost sinister questioning of the speaker plays upon the desire for safety, shelter and stability, and the manner in which sexual desire can disrupt this. We are not sure whether it is the sleeper or the viewing questioning, and this uncertainty and unclarity of desire further destable or viewing position and create a disturbing sense of ambiguity.

Why Women Have Sex

'You Could Be My' (2012) spray paint on appropriated textiles

Upon re-reading Anne Koedt's 'The Myth of the Vaginal Orgasm', and Jane Gerhard's revisiting of it, I began to consider the sexual presentation of women in relation to male desire. Koedt claims in her essay that men perpetuate the myth of a vaginal as opposed to clitoral orgasm as it satisfies a model of male desire, with the vagina the best physical stimulant for male penetration. She continues to discuss ideas of 'The Invisible Woman' and 'The Penis as Epitome of Masculinity', and the phallocentric nature of desire and its impact upon social function; 'sexually, a woman was not seen as an individual wanting to share equally in the sexual act, any more than she was seen as a person with independent desires when she did anything else in society'. As the embodied "other", the women can "be" the phallus to the extent that she is the object of male desire, and as such can enter into the symbolic order. Considering these prevalent themes throughout my practice, I complated the notion of creating a series of works in which language suggested an ungendered speaker, and as such an uneasy spectator position. While the work above shows a continuation into my re-contextualisation of female personal adverts, I felt that the pieces below, appropriating anecdotal text from Cindy Meston and David Buss' psychological study 'Why Women Have Sex' explored a far more varied approach to female sexuality, whilst still remaining ambiguous in its authors sex and sexuality.

'The Thing Called Love' (2012) felt on glass

'What Turns Women On' (2012) felt on paper, and block print experimentations below

'The Thrill of Conquest' (2012) appropriated textiles on paper, thread and appropriated beads

Here, we are unsure as to who the speaker is directing their words to, or if in fact this is how we are intended to think of the author, however I felt the feminine visuals, particularly use of traditionally "female" media such as pink fabric and beads, on their own suggested a strong sense of female voice, and perhaps it is through connecting these to other contrasting elements that this blur of layered identities and lack of pictorial representation that I wish to develop to explore female sexuality and sexual identity will become far more grabbing. As presented by Lacan, the sexed individual is constituted by a world of language, and in regards of sexuality 'there is no insistent sexual desire which pre-exists the entry into the structures of language and culture'. I believe that these initial explorations into sexuality and desire open new areas of thought concerning previously considered ideas surrounding Freudian and Lacanian positions upon desire and feelings of absence or lack - as Naomi Wolf remarks 'what little girls learn is not the desire for the other, but the desire to be desired'.

Women Seeking Men (Dirty Housewife)

In 1991, Barbara Kruger was asked to write about "American Manhood", an ideal she summed up as an image of perfection for us to desire; advertisers 'want interchangeable figures, not bodies', she claimed. I find this particular quote incredibly relevant to my current practice, and for considering the stereotypes of femininity and masculinity with which we are constantly presented with. Taking of transvestism, Grayson Perry stated male cross-dressers to be ‘boys who have been constricted in some way in that very narrow male role’, and I believe it is through exposing the extremes of these roles and stereotypes that we begin to break them down. ‘The paradox of phallocentrism…depends upon the image of the castrated women to give order and meaning to its world’ claimed Laura Mulvey in the seminal 1975 ‘Visual Pleasure and NarrativeCinema’, and it is through the lack of penis that the woman becomes embodied "other", existing as a binary opposite to men, and as Butler argues, gender distinctions are only valid upon accepting a social system based upon binary opposites. The woman can only hope to enter into the male - and penis centred - world by becoming an object of male heterosexual desire. Employing the layout of newspaper adverts, the patchwork quilt below employs traditional "feminine crafts" to re-contextualise both this domestic object, and the adverts presenting women as the sexual other and object. When discussing the work of Tracey Emin, Rosemary Betterton described her work as a subversion of 'techniques and genres historically gendered (albeit not exclusively) as feminine, such as embroidery and patchwork quilts... on the one hand, the patchwork quilt was a confirmation of daughterly or wifely skills and virtues, a symbol of the long tradition of domestic femininity... on the other, appliquéd texts and banners were used in Suffrage demonstrations and were revived in women's peace protests in the 1980s as public and political statements of women's rights and identities'. In relation to blanket works such as 'Helter Fucking Skelter' 'the iconoclasm of the texts is at odds with the painstaking and detailed procedure of sewing each letter one by one onto the ground, just as the violent expression of the words belies the warmth and security implied by the blanket... the work refuses any simple reading of female identity' - it is this sense of a multi-narrative work which I hope to have created through selecting examples informed by Lakoff's study of 'women's language'.

'Women Seeking Men (Dirty Housewife)' (2012) embroidery, appliqué and image transfer on appropriated textiles

Kruger states "direct address has been a consistent tactic in my work", and I believe such influence can be seen clearly in this work, using appropriated images and text drawn from mass media, manipulating meaning and cultural value whilst feeding upon ’the image repertoire of popular culture’ (Kruger, 1982). Direct address however requires spectatorship, a position which naturally will be embodied and gendered. Here the speaker has no 'body', and thus I hope to question, confuse and perhaps even to collapse traditional gendered readings and viewing positions - presented alongside sexuality suggestive images of women, the selected text forces us to consider how we view these bodies. Phrases such as 'I WANNA MAKE U COME' and 'WANT 2 HELP U' sends mixed messages - are these figures here for our sexual pleasure, or is this how we should feel towards them. Ultimately, the 'I' and 'U' are interchangeable, unfixed and ungendered, and call into question such a presentation of female sexuality, in which 'we are taught that the needs of women are in direct conflict with the needs of men' and that sexuality and desire is in effect based upon a power struggle; reporting upon sexual violence, an article in the Guardian summarised this struggle as 'an insistence on "purity" [which] is just the other side of the coin of insisting on sexually servicing other men. In both cases, the body of a woman exists in the battlefield of male control.'