IDENTITY

I refused the symbolic order.

I was not interested in my female domestic story. I discovered that my I, HERE, NOW was never one, fixed point which I could catch in one image to be iterated with small variations over the next 50 years. Clearly that is a business model from tradition but not where I wanted to go.

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Spectrum Series, 1970
Self Portrait , 1981
Caryatid, 1986
Spin, 1997

ENVIRONMENT

I embraced the interdependence of nature and culture.

My quest for a model or paradigm in nature was for a living metaphor which would equate with my work process/philosophy.

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Taupatauma , 1978
Lamella Lamina, 1983
Drawing Connections, 1995
Mantles, Maladies, Mutations, and Prussian Blue, 1997

ART PRACTICE

I was addicted to displacing myself in order to grow.

In order to break with the codes and models of the art- of the past and particularly modernism, I required different strategies to engage my female experience and presence. Displacement was one of these strategies.

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Gilgamesh Weeps, 1970
Honour, Duty, Sacrifice, 1970
Austere Field Series, 1971
Pharmacopoeia series, 1983
Span, 2008

THE DOMINANT CULTURE

I asked "Why?" Discovering that phallic logic related to me, I began to disrupt it.

I worked from the premise that historical art making codes were gendered masculine, i.e. constructed from masculine desire.

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Book of Forty Images , 1973
50's Model Series, 1977
Iron Maiden, 1978
Stain, 1984

THE REPRESSED FEMININE

I said , "We need new myths for our time", as I explored the body, matter and mind.

“Making it my own” wasn’t about having an eye for good design and/or a facility for selecting so much as it became embodied along with my understanding that a process was a metaphor for my living and philosophy- even a metaphor for our time.

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Gilgamesh Weeps, 1970
Honour, Duty, Sacrifice, 1970
Mantle : Restoration Piece, 1982
The Gates of the Goddess: a southern crossing attended by the goddess, 1985
Baroque Drawing, 1995