The point of departure in this proposed body of work is how artistic practice can materially translate and therapeutically engage in possible relief and healing of psychological abuse and its implications such as fear, shame and vulnerability, caused by unequal patriarchal personal relationships and gender inequality in the household of my own family and others. Any form of inequality, whether verbal, financial, emotional or physical that is repeated time and again to intimidate, control and instil fear in women and the family, is a form of psychological abuse. Judith Jordan (2003:5), Valuing Vulnerability: New definitions of Courage. Work in Progress, argues that “In power-imbalanced, non-mutual, or unsafe relationships, vulnerability can become a place of fear and disconnection”. Fear is a debilitating emotion.
Psychological processing through art therapeutic studio practice will inform the choice of materials, processes of daily making, and labour of the process-based work involved. To support the material translation of this theme in a planned practical body of work, feminist subversive stitch, “soft” materials and textiles contrasted with neo-expressionist materiality in painting will inform the process of making. Recea Chansky (2010:681), A stitch in time: Third‐wave feminist reclamation of needled imagery, argues that within third wave feminism, the needle and thread are artmaking tools that discuss and communicate strong modern feminist ideas such as oppression through subversive stitch (Chansky, 2010:681). Chansky (2010:682) further argues that:
The needle is an appropriate material representation of women who are balancing both their anger over oppression and pride in their gender. The needle stabs as it creates, forcing thread or yarn into the act of creation. From a violent action comes the birth of a new whole. Women are channeling their rage, frustration, guilt, and other difficult emotions into a powerfully productive activity (Chansky, 2010:682).
Neo-expressionist materiality will be explored and employed, particularly monochromatic colours, evocative bold brushstrokes, heavily encrusted paintings on monumental surfaces and found materials akin to that of German neo-expressionist Anselm Kiefer. Noga Stiassny (2015:45), argues that expressionism is a critical constituent of Kiefer’s visual language, yet he developed a distinct hybrid style (Stiassny, 2015:45).
