h4.Artist Statement 2009h4.
My Aim as an artist is to explore and expose Female myths, truths and perspectives that have yet to be represented and recognised.
My main investigation in 2009 has been focused around the concept of Pathological Love. Pathological love is simply described as an addiction to the idea of love consists of three components: Romance, Relationship and Sexual Addiction. Romeo and Juliet, Beauty and the Beast are examples of Western iconic Love Addicted Relationships. In reality these relationships can lead to suicide, murder, rapes and other crimes of passion. Rugby Leagues infamous practice of Bunning is classic Love Addicted behaviour.
Why do women love such monsters? What binds these women to often lives of restriction, danger and possibly even death? How is it possible that women across the board are still most likely to be harmed by the men closest to them and why do we still not see it coming? These questions and my research to date have led me into the fabulous world of ancient Greek Myths in particular the myths of Pasiphae and Eurydice and into psychological inquiry. It is my Aim to give these antique and modern women a voice, as they are often silent or silenced. I am hoping to find a way to express the deepest realm of unbridled Feminine nature to undomesticate women, symbolically releasing Pasiphae from her chains of shame and returning Eurydice to the natural world and state from whence she came. In addition to these antique themes I am working with the current studies of Meridith Chivers, her studies were briefly outlined in a Sunday Life article titled What do women want? Just as Picasso identified with his particular version of Minotaur reinventing the context surrounding the son of Pasiphae, I am hoping to develop a visual expression of wild/undomesticated female truth/s. I think that by using the darkest extremities of society where domestication of women is at its most extreme and suppressive I will be able to achieve a strong contrast with the ideal possibility I am debating.