The Act of Silencing
I was inspired by an image of a decapitated figurine whose head was cradled in the folds of her own dress, available for purchase with no reference to the disembodiment. Cinderella's gown tells the story of her dancing with the prince, an image of the past, a future or a dream unrealized. The irony of this image haunted me for years, foreshadowing the intentional silencing and control of women’s voices and bodies.
Collecting flawless figurines of women of all shapes, sizes, ages and cultures with the intent of snapping their heads was difficult on many levels. Hearing the sound of the first sever was more jarring than I could have ever expected. I began recording the process and turned over the footage to Kasumi who created an honest, painful, powerful and rhythmic video that remains mesmerizing after countless viewings,“Decapitatin’ Rhythm”. I am grateful to have collaborated with such a masterful artist and friend.
The remnants of the figurines needed to be considered and reimagined. My good friend, former student and incredibly talented artist, Emily Joyce, rose to the challenge and found her own series within the structure of my original concept. She reflects on the past, the nostalgia of what it meant to be a girl decades ago and how she raises her three girls today. I am so honored to show my work alongside her incredible creations.
An exhibition titled “Common Thread” begs to include a fiber element. I chose a wedding gown. Societal norms still push women to get married. This often results in women losing autonomy.Their names may change to their husbands and their careers often take a back seat. For women, marriage can result in the veiling of complex lives lived before the union.
I asked my mother, Ginny Wallace-Curry, to create this wedding gown for the exhibit. We share many common threads. She taught me to sew and bought me my first sewing machine. In addition to DNA and a shared birthday, we share common interests, political ideology and a keen sense of justice.
On the gown, images of women from the late 60s and early 70s are side by side with those of contemporary women. We invite you to contemplate the similarities and differences.The older images are fragile. The paper is thin, rips easily, and the color is faded. The older generation gives way to the new. How far have we come? Where are we going?