Two shows eschewed feminine looking for
female abjection.
Not exact matches
Through video, she examines painting and other visceral acts connected with associations of desire and
abjection placed on
female bodies in culture, and opposed to associations of power and virility placed on male bodies.
In the three years since her last solo exhibition at the gallery, Rafferty has been pushing forward her dialogue with materials and strategies of making while continuing to engage themes that have been preoccupying her in her work to date: mid - to late - 20th - century media culture and the proliferation and subsequent impoverishment of imagery that has arrived in its wake; tropes of performance and comedy; and the theatricalized, often
female, body, with its simultaneous centrality and
abjection.
Through the plastic tubing, liquid courses through her concrete sculptures, highlighting woman's aqueous embodiment and challenging the
abjection that surrounds the
female body and it's production of bodily fluids.