Seven of Nine

 

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‘From the white virginal bride to the dangerous black widow societal stereotypes such as these hinder and often demonize female sexuality. Worn to cover the most intimate parts of the human body, women’s underwear is a garment associated culturally as a sign of female sexuality. Uncomfortably revealing and open to scrutiny these stuffed, stitched and bound works face outwards defiantly feminine unable to function as garments.

Standing as tokens, reminders of the horrific procedures carried out daily on young girls these offer an alternative interpretation, that sexuality can be respectably acknowledged, celebrated and embraced.’

Familiar with textile processes and practices I had  been unable reconcile this strand of interest within my Fine Art practice tending to avoid craft techniques. This project prompted me to consider why I felt like this, what such links implied and reasons for my avoidance in using them.

Whilst considering these questions focused research looked towards the current and historical connotations and stereotypes associated with garments particularly women’s underwear considering the scrutiny such garments endure and as a metaphor of female sexuality. I also looked to craft and folk art produced as mementos and keepsakes in particular Soldier and Sailor Pincushion Art from the late 1800’s. The stitching and bounding can be understood as a practice to commemorate and celebrate conversely is also the techniques used by women against girls in horrific female genital mutilation procedures.

The title could be a mocking reference to the saying ‘one for everyday of the week’, insinuating purity.

 

 

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