My current artistic project is a theoretical investigation into the deconstruction of phallogocentrism; 'Breakthrough' is an example of Deleuze's conceptualisation of 'a thousand tiny sexes'1 which inspired the multiple differing drips. These drips melting in different directions and angles could appear as though they are resisting the gravity of this world in a desire for a different kind of gravity. This symbolic image could serve as a visual metaphor for what I am proposing as a desire and call for a different kind of world, one which could satisfy these otherworldly desires, and indeed, needs. Here I am speaking of feminine symbolic, language and social structures. Thus, this 'labial' side contrasts the One side which presents linear phallogocentric drips symbolising the phallic construction of sameness and the 'one truth'2.
This leads us back to my theoretical research where I propose to link Irigaray's 'labial' language of difference to Deleuze's rhizome-thought to form a potential 'labial'/rhizomatic way of thinking through a theory of aesthetics which could be the combining starting point for the emancipation of feminine ways and means of expression. By merging together an artistic practice and a philosophy of art and aesthetics, I aim to create both scholarly work and artistic encounters that convey this feminist philosophy of 'labial' art-politics in order to explore Utopian ideals and change through artistic expression.
1. Claire Colebrook, Gilles Deleuze. (London and New York: Routledge, 2002), 143.
2. Luce Irigaray, This Sex Which is Not One, (New York: Cornell University Press, 1985), 32.
*This blog post has been back-dated for continuity purposes. Edited statement was originally written for the exhibition OBJECTIFY on 17th May 2013.