Maternal element – the unmothered

As with all artworks, A Way to Remember is informed by one’s own experiences. Spreading the mixture on the paper opened up an imaginary space where a domestic action of floor cleaning has been echoed, of a woman standing on four, rubbing her hands over a flat surface, as if cleaning or whipping some dirt. This was reinforced by the colour of the mixture which resembles dirt.

Regarding women who were not mothered psychoanalyst Clarisa Pinkola Estes writes: ‘[...] if she is unmothered, her instincts have not been sharpened.’[1] A person who’s basic instinct has been injured ‘instead of aiming toward new life, [...] sits down in a psychic pool of glue. Lack of fleeing when it is absolutely warranted causes depression.’[2] This was written as part of the research, where maternal trauma was explored and analysed. Indeed, this new work, although addressing a Palestinian town which got destroyed in 1948, was done through the artist’s own personal biography.

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[1] Clarissa Pinkola Estes, Women Who Run With The Wolves, London: Rider,1998, p. 186

[2] Ibid, p. 231

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A Way to Remember, Drawing, was a pavement art commission which took place as part of MK Festival Fringe 2012[1]. In respond to the brief the following proposal had been put forward.

I would like to draw the Palestinian town 'Samakh' which got destroyed in 1948 with the 'birth' of Israel as my ‘Objet Trouve’ (Found Object). As an Israeli artist (based in Winchester, UK) I am interested in Palestinian towns and villages that existed until 1948.  History lessons at school excluded this information, so now, as an adult, as a mother-artist I am re-educating myself and some others too. I lived in MK for six years, and both my sons were born there.  

With regard to Oskar Schlemmer's quote, I refer to the definition of 'romantic' as:

'relating to a movement in late 18th- and early 19th-century music, literature, and art that departed from classicism and emphasized sensibility, the free expression of feelings, nature, and interest in other cultures'

From: Encarta Dictionary UK.

Some preparation drawings where made prior to the event, where different materials, techniques and compositions were tested. Finally method, form and composition, as well as materials were chosen. The method involved building a layer of Graphite powder mixed with plastic glue to create the effect of ‘road’ or a ‘car park’, on top of which a ‘drawing’ was made, using white chalk. (I put the word ‘drawing’ in bracket because the whole drawing includes the layers and the work with chalk).  This allowed the drawing to look like it was drawn on pavement. The ‘house’ was simplified to a 3-D box-like shape formed by creating straight lines and angles, using Masking tape. This was a performative drawing in which preparing the surface was part of the work and done as a ritual. It included covering the paper with a layer of white emulsion, waiting for it to dry, then start to mix the Graphite powder with plastic glue, using special bowls and a mixing stick. When the mixture was ready, it was spread over the paper by fingers.

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[1] ‘Objet Trove’ MKFestival Fringe (Milton Keynes)

Kristeva writes: ‘Abjection preserves what existed in the archaism of pre-objectal relationship, in the immemorial violence with which the body becomes separated from another body in order to be [...].’[1]

Abjection, therefore, can be understood as a psychical container of memory. Such a container requires constant attention, movement, and dialogue with other containers. As such, it is utilised as a base on which my practice is formed.

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[1] J. Kristeva, Power of Horrors: An Essay in Abjection, Columbia University Press New York, 1982, pp. 9-10.