MOM Art Annex: Exhibition & Education Center

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MAMA: Issue 42 BLM, COVID, Afrooist, and A Body Other Than My Own

Sunshine Negyesi alias Afrooist
“This is a time of grieving but also a time of great change. Covid and the emergence of the BLM movement, served as a reminder that anything is possible. Never in a million years could we have predicted such unprecedented change. So as I watch the old structures crumble I am  reminded this is a period of infinite possibilities. The question now, is what world, what legacy, what vision I would I like to plant for the next generation.”

MAMA ISSUE 42 BLM

The most recent work of London based artist Afrooist, is a candid investigation into generational trauma. Her work reflects a personal journey of inquiry into her own family history, addressing the traumas which were entangled with the legacy of Colonialism .

Her work is fragmentary, working from big things which are edited down through various processes. These fragments relate to a bigger unseen picture, a remnant of something which has happened. Her art is the product of a performance where the unseen act of making is testified by her pieces.

She works across different media, ranging from live performances, painting and sculpture- using the poetry of hammering, beating, pulling, teasing and breaking, to express how her life has been lived and soaked in contrast. Her earlier works try to understand her black identity as it has been interpreted by society embracing the conflict revealed within the final pieces reflect the beautiful ugly of existence, that which is both attractive and repulsive, disquieting and squeamish, setting the viewer in an entanglement of something mucky, gritty yet sublime.

More about Afrooist
Born in London 1983 , Afrooist was raised in a biracial family in Tooting, South London. Her mother is Filipino and father from Guyana . She studied classical studies at Warwick University ( 2005 ) and trained as an early years teacher at Greenwich University ( 2016 ). Artist and singer, she began as a self taught painter, and developed the ability to deconstruct and reflect on her practice whilst studying Fine arts at City Lit London (2018). During the Summer of 2019 Afrooist made her debut solo exhibition at The Ritzy Brixton which included a live art performance ritual framed around a character she named Black Persephone in musical collaboration with Tanc Newbury and Siemy Di.  A mother of 2 children, she strives to be the change she wants to see in the world. She is Co-founder with Dirish Shaktidas of a project called Futureseeds and is currently residing in South West London.

MAMA Essay: A Body Other Than My Own

by Wendy Carolina Franco, PhD

(She Her Hers)

*This essay talks about the video of the murder of George Floyd.

When the day’s headlines about Covid-19’s devastating impact on the Black community were replaced with images of Black youth screaming next to burning cars, I reacted with fear. I was in full support of the protests but scared for the protestors. My 13-year-old twin sons felt that watching the video of George Floyd’s death was necessary for me to understand the rage in the streets. P said, “If you don’t see how he was killed, you are being a coward.” I replied that decades of seeing black people suffer changed nothing and only normalized seeing black bodies being abused. They chewed on that for a minute. My teenagers have plenty of complaints about me, but they respect my opinions on social and political issues. 

I am a Dominican woman with a history of serial migration, meaning that my mother immigrated first, we reunited when I was twelve, and one year later, she was imprisoned for eight years for a drug-related crime a white person would have barely done time for and was later deported. I grew up alone in New York City, dropped out of school. I eventually earned a Ph.D. in clinical psychology. Now I specialize in trauma, counseling mostly minoritized people. 

“Look,” I told the boys, “watching someone being murdered can be traumatizing to the viewer, and for young people of color, like you, it is particularly harmful to witness racially motivated violence.” Such videos reduce a person’s life to the day they were murdered, I argued. I suggested they focus instead on studying the origins of systemic racism, and—this part is really painful as a mother–on learning how to behave to stay safe. P and F told me they had seen many people of color die, and that their bubble of racially diverse kids had also seen all the viral videos. F said: “I don’t know if it’s good or bad for me to watch these videos, but this is the worst one I have ever seen.”

Still trying to protect my mental health, I asked them to describe it to me. I don’t know about all twins, but my boys talk at the same time and always contradict each other–it’s infuriating. This time, there were zero contradictions. P noted that the police and Mr. Floyd looked so calm that he thought it was fake, then he suddenly got scared for George Floyd. F spoke of moments he thought someone was going to intervene but were stopped.  They both described a slow realization that no one was going to help. The killer stayed on top of Mr. Floyd long after his body had gone limp. P concluded that if the officer had just gotten up, Mr. Floyd would have lived. 

My face awash in tears, I had a knot in my throat. Avoiding the specifics had been a way of distancing myself from George Floyd’s murder. I still think that watching black people die is traumatizing for Black people and desensitizes non-Black people to their suffering. But the reality is that children are watching. 

After my sons brought Mr. Floyd’s death to life, I looked for photos of him. A beautiful vibrant

trio in a park summer outing came up. Wow, he was so tall and serious. He looked like a guy who kept his word. That little girl in his arms must have felt like God himself was carrying her. There was enough arm and chest for her to kick back and watch the world from up high. His partner was beaming, enjoying the circle they had created. It looked like a magnetic field, impenetrable and safe.

I decided to watch the video, once. 

From watching the video of George Floyd’s death I learned that he was a survivor. Even in the most frightening and compromised state, Mr. Floyd had the wherewithal to control the instincts we all have. He did not fight, or attempt to run, or freeze. These responses to danger come from the most ancient parts of our brain. He mustered the focus to try to de-escalate the situation by reminding the man intent on taking his life that they are both human. 

George Floyd said he was in pain, that he couldn’t breathe, communicating that he is human and like all of us will die without oxygen. He tried to calm the officers’ fears. He said he would comply with orders. He tried to adjust his body. He called out “Momma.” This dying man claimed his personhood by calling for his mother. He had profound attachments and a mother who loved him, and there is nothing more human than that. I don’t need to know how Mr. Floyd lived his life. The video of his murder showed his fighting spirit, his focus on surviving for his family, his humility, his dignity. He did not give up, but clearly understood what he was up against.

F knows what it’s like to not be able to breathe. He had pneumonia when he was eleven years old, and a young white doctor refused to take his complaints of difficulty breathing seriously. She said his lungs were clear and sent us home twice. I called my dentist, an old school Peruvian MD, who said, “GET OFF THE PHONE AND CALL 911.” My son was too weak to walk. He was rushed to the ICU where he remained for a whole week. They told me that he would have been dead in one day.  

For the local protest, F made a sign that said, “I CAN’T BREATHE.”  I was flooded with sadness. He was not copying the rallying cry this sentence has become, he does not know how Eric Garner died, and he was not thinking of the countless COVID-19 patients who suffocated to death, or of the air pollution our way of living creates. As much as he understands, he has no idea.

The pain of Black people only seems to bring about more pain. The Brooklyn protests we went to were completely peaceful and about 50% white, but Black and Brown protesters risk a lot more. They will be arrested and penalized more harshly than their white counterparts. Protesting also poses uneven health risks. Clueless celebrities and people who do not understand systemic racism claimed the coronavirus would be the ‘great equalizer’; instead we learned that racial privilege extends to levels of exposure to the virus and the body’s ability to fight the illness. The data on mortality shows that Black people die at three times the rate of white peers. Why do we accept so much black death?

Being the target of injustice creates a double bind, or a lose/lose situation. If you do nothing,

you suffer psychologically and emotionally, and if you fight back you risk further harm. Yet, I have to be hopeful. I see solidarity for Black people and a focus on action. I too come from pain. I can relate with feeling invisible, unimportant, and forgotten. But I will never know what is like to live in a body other than my own.

We naively think that our shared humanity is enough to experience empathy, but it isn’t, because of antiblack racism. We live in a society that assigns value to people’s lives depending on their identity. In this case, we have seen the repeated dehumanization and abuse of Black bodies, and for generations, we have labored to rationalize a world wherein skin color, gender and sexual identity, religion, place of birth and physical ability are risk factors for suffering and death. The human brain will distort reality to protect us from the idea that bad things happen to good people. As an example, victims of abuse, even in the most extreme cases, find ways to blame themselves. On a psychological level, having provoked the abuse preferable to the idea that something out of your control, like your body, can make you a target of violence. We make sense of systemic oppression by blaming the victims.

To undo lifetimes of mind-bending justifications of a racist system, we need action. Laws force people to adjust their belief systems. But we can go further and explore the barriers that keep us from seeing ourselves and our loved ones in the faces of Black victims of racist violence. Those barriers are constructs like “us and them or good and bad,” that keep us focused on our own suffering and desensitize us to the pain of others.

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. Download the Press Release here or read about updated initiatives#JoinMAMA @ProcreateProj  @MOMmuseum @TheMomEgg

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The Founding Mothers: Women in Herstory

This month marks the International celebration of Women’s Day (Sunday, March 8) and Women’s History Month.

Both of these acknowledgments demonstrate an earnest desire to understand and honor the contributions of women. Wednesday, March 11th will mark the opening event for a new exhibit at USF, Women’s and Gender Studies Dept., curated by Martha Joy Rose.

Panels featuring the four waves of feminism flank the entrance to the exhibit titled The Founding Mothers: Women in Herstory. Also on exhibit are a myriad of art pieces including works by Rose, Christen Clifford, and Kim Alderman. This timely installation brings together feminist voices throughout herstory who have challenged conventional attitudes about gendered performance and motherhood through their writing, activism, and art. A multi-media interactive exhibit encourages participants to think critically about evolving family narratives and womyn’s place in society.

Please do come visit. See the impact Mother Studies can have on your life, perspective, and the future. Write INFO@MOMmuseum.org for more info. Flyer for the opening event is here. The exhibit will be up through May 8, 2020.

See more panels here online at the Museum of Motherhood: LINK

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M.A.M.A. 41 Featuring Michele Landel and Ann E. Wallace

MAMA with MOM Museum, Procreate Project and Mom Egg Review featuring Michelle Landel

Bio: Michele Landel creates intensely textured and airy collages using burned, quilted, and embroidered photographs and paper to explore the themes of exposure, absence, and memory. She manually manipulates digital photographs to highlight the way images hide and filter the truth. She then sews layers of paper together to create bandages and veils and to transform images into fragile maps.

Michele is an American artist. She holds degrees in Fine Arts and Art History. Her work has been exhibited in Europe, the UK, and the US and she is extremely proud to have been in the 2017 Mother Art Prize group show. She was awarded the 2018 Innovative Technique Award by the Surface Design Association and is represented by the Jen Tough Gallery in Santa Fe, NM and the Muriel Guepin Gallery in NYC, NY. Her upcoming art events include Imagining Identity: Contemporary Textiles at the Palo Alto Art Center Foundation in Palo Alto, CA and the Hankyu Paris Art Fair in Osaka, Japan. Michele has lived in France for over 15 years. She has three school-age children and works out of her art studio in the Paris 9th arrondissement.

Project Descriptions :

1) Who’s Afraid is intended to capture the tension between men’s anxiety of being unreasonably accused of inappropriate behavior and women’s fear of sexual harassment and assault. It is referencing the play “Who’s Afraid of Virginia Woolf?” and the inherent tension between actors and audience that is part of theater performance and in this play the volatile and complicated relationship between men and women. To capture this, Michele started with the gaze. Specifically, the ‘male gaze’ as defined by the feminist film theorist, Laura Mulvey. She began with a photograph of an anonymous woman from a clothing catalog. The photograph fits interestingly within Mulvey’s three phases of the ‘male gaze’: How men look at women, how women look at themselves, and how women look at other women. She enlarged the photograph, divided it into small rectangles, and then printed the image on secondhand bed sheets. She pieced the photograph back together and painted, using machine embroidery, the woman onto a second bed sheet – covering her skin, hair, and clothes with thread. She cut out the woman’s eyes to make the viewer uncomfortable and scared. Deliberately referencing childhood ghost costumes made by cutting out eyeholes from old bed sheets, she is engaging with the idea of spectator and specter both of which have the Latin root word ‘spect’ meaning to ‘see.’ From a distance, the embroidered figure on the sheet appears three-dimensional. The embroidered figure appears to ‘see’ the viewer when in fact the gaze is empty. The vacant gaze causes anxiety and feels powerful. Blog Link I Instagram @michelelandel  I www.michelelandel.com

1) Michele Landel

For There She Was, comes from the last line of Virginia Woolf ‘s “Mrs. Dalloway” and includes over a hundred embroidered, burned, dyed and collaged images. The series emerged from thinking about all the women who are currently speaking out about their pain and trauma and are refusing to go away. To summarize this moment, Michele brewed natural dyes in her kitchen using organic materials and then dyed small scraps of fabric (a cloth baby diaper, an antique tablecloth, a stained tea towel…) to represent the physicality of womanhood and gender roles. She matched the fabrics with small paper dolls that are digitally edited photographs from clothing catalogs to show the commodification and manipulation of women’s stories. To deliberately erase the women, she burned holes in the photographs and repeatedly stitched over their faces and bodies. Yet the women are still there. Their presence is even stronger.

Closed

By Ann E. Wallace

Close the door.
She looks at me like I am ridiculous.
But I only left it open for a minute.
A girl raised by a father has not
had to think much about the reasons
a family of girls keeps the door closed
and locked.
A family of girls knows
the unwanted will enter
closed doors, will penetrate locks
uninvited.
We do not need to leave
the door open for them.

Ann E. Wallace writes of life with illness, motherhood, and other everyday realities. Her poetry collection is Counting by Sevens, from Main Street Rag, and her published work, featured in journals such as Wordgathering, The Literary Nest, Rogue Agent, Mothers Always Write, and Juniper, can be found on her website AnnWallacePhD.com. She lives in Jersey City, NJ and is on Twitter @annwlace409.

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. Download the Press Release here or read about updated initiatives#JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg

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MAMA Issue 40: External Masquerade and Scars

Bio: Anna Perach’s practice is informed by the dynamic between personal and cultural myths. She explores how our private narratives are deeply rooted in ancient storytelling and folklore and conversely how folklore has the ability to tell us intimate, confidential stories about ourselves. In her work, She synthesizes female mythic characters and retells their stories while placing them in the current climate. By doing so Anna creates an experience of eeriness, evoking a sense of both familiarity and distress.

Anna’s main medium of work is wearable sculpture and performance. She works in a technique called tufting, making hand-made carpet textiles that she transforms into wearable sculptures. The sculpture functions as both a garment that is performed in as well as an independent sculpture. Through this choice of medium Anna is interested in exploring how elements associated with the domestic sphere operate as an extension of the self and reflect on one’s heritage and gender role. Her performances reverse this dynamic and exhibit the private domestic carpet as an external masquerade both exposing and hiding fragments of the self.

ALKANOST: tufted yarn and hand embroidery, 80x130cm, 2019

https://www.annaperach.com/work

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Scars

By Jane Yolen

I saw my mother undressed once.

There were ribbed scars on her back.

I rubbed my point finger

lightly over one of the ridges.

She shuddered at my touch.

I asked her if it hurt.

She said it was a reminder,

her voice almost cooing.

I was too young to understand.

Years later when they took my wings,

before I could even stretch them,

before the air had foiled around them,

I remembered that day. My daughter

and her daughters will never go

under that particular knife.

I will keep them safe, hidden

till the wind can lift them.

There is so much sky.

Jane Yolen will have published over 376 books by the end of 2018. She has worked in almost every genre possible. Her books include several NY Times bestselling children’s picture books, prize-winning short stories, and poems. Six colleges and universities have given her honorary doctorates. She was the first writer to win the New England Public Radio’s Arts & Humanities award. She’s mother of three (all in the book business) and grandmother of six.

“Scars” by Jane Yolen was previously published in Mom Egg Review Vol. 17, 2019.

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. Download the Press Release here or read about updated initiatives#JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg

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TRACKING THE COURSE OF MUTINY AGAINST THE TYRANNY

Op-ed, Martha Joy Rose May 13, 2019 

Despite headlines and discourse, the most unchanging thing about motherhood is how much it doesn’t change. While parenting narratives in the public arena are more visible than ever, while books on mothers and mothering are written and published at a dizzying pace (see Demeter Press among others), and while activists and bloggers do their best to articulate the realities and difficulties of mothering, the truth will make you mad. Policies ranging from healthcare to human rights in the United States have not changed much at all in the last 50 years, and if anything, they appear to be moving backward at times.

This year’s Mothers’ Day came and went with the usual fanfare of compliments, cards, and lovely acknowledgments. But, the truth of being a woman, or a woman of color in America, can be very scary. Aside from the well-known, repetitive conversation around everything from our as-of-yet still unratified ERA to maternal morbidity rates, we observed a rollback of certain state’s abortion rights, and the constant pressure mothers and caregivers experience as they try to balance unrealistic expectations with work pressures. All of this occurs in the midst of corporate greed and governmental callousness which is reflected in our lack of family-friendly policies.

‘All The Rage’ Isn’t About Moms Having It All — It’s About Moms Doing It All’

NPR: Weekend Edition, May 12, 2019

On why domestic demands on mothers actually increased in the mid-’90s

The expectations for motherhood suddenly … went through the roof. … One of the reasons that academics will cite for why this happened at the same time that [mothers’] labor force participation peaked was because there was a lot of anxiety about what was going to happen to the kids. All these moms are now in the workforce in greater numbers than ever: What’s going to happen to the children? So the standards for mothering kind of ratcheted up. [Link to ARTICLE].

Feminism & Motherhood

As a woman, I am angry. But as a mother, I’m seething. There’s a robust conversation right now about the historical and present power of female rage as a tool for social change. A number of books, articles, and social media hashtags are pointing out that women are fed up. Instead of being silenced by patriarchal ideas of women’s emotions as “hysteria,” women are embracing their anger as a social and political force to be reckoned with. That is great news for women. But what about mothers as a key subset of women? ~Kimberly Seals Allers for The Washington Post 2019: [LINK to article]

There is a lot to be angry about. Women of color in the USA, who are pregnant, have the most to be worried about. Their prenatal care, birth care, and post-birth care are all persistently worse than their white counterparts. This problematic scenario can be linked to many ongoing issues related to systemic racism, socio-economic status, and the apparent lack of willingness for medical professionals to listen to the voices of these women. [Read more here in the news at this link].

This year’s Museum of Motherhood annual conference focused on “Rewriting Trauma and Birth.” We welcomed keynote speaker Khiara M. Bridges, who is the author of Reproducing Race. Her book smartly explores the social construction of race in medical settings and helps to examine the forces that coerce women into dangerous birth scenarios.

So, whether over-burdened by maternal workloads, subject to a medical crisis of deadly proportions or managing the anger associated with outdated policies that do not support women and families, something has got to shift.

Before we can identify solutions we must notice the problems and call them out. By naming and labeling the issues we have engaged in the first line of offense. Some people will voice objections. They will list the ways in which gender mirrors biology. They will do their best to keep enduring structures of power and privilege intact. However, we just keep raising our voices and turning up the volume.

Kimberly Seals Allers proposes several steps for improving the state of families in America. Some of those include obvious changes to healthcare. Others must focus on policy shifts that recognize unpaid maternal labor, as well as the development of affordable childcare options for working mothers.

So what has been going on for the last 15 years? Below is an article that was written by Jill Brooke for the Chicago Tribune during a burst of notoriety for the Mom Rockers who had set their minds on creating change within the home as well as the world at large. While the emphasis on using art and music for social change has amped up the volume on women’s issues, many of the problems these founding artists sought to address have remained stubbornly ingrained in our institutions, including the “institution of the family.” You can read more on this subject in the book, the Music of Motherhood (Demeter Press 2018).

Course development and educational programming that break the barrier on women’s (and gender) studies in the university and beyond are an important step in disrupting repetitive patterns that keep individuals trapped in hegemonic discourses and force the idealization of parenting roles. Here at MOM, we are striking back by pushing back. Giving a nod to the work of Guerrilla Girl Donna Kaz, we encourage those of you who are seeking some strategies for change to utilize her work to create activist platforms. LINK

” I have heard many people express their own powerlessness as they face threats to their rights and the rights of those they support on a daily basis. Perhaps you agree there is a need to understand how to organize and see results, on a local level. Maybe you search for activist knowledge and are hungry for something to guide you through the steps of creatively supporting a cause. PUSH/PUSHBACK will fill that need.”

The band Housewives On Prozac was championing pushback through music in the late nineties through 2008. Their song “Eat Your Damn Spaghetti” was a rallying cry for overwhelmed and frustrated mothers. You can watch the video below. Meanwhile, the MaMaPaLooZa Festival, which is ongoing in New York City and Sydney, Australia aims to create dynamic change through empowerment, education, and large-scale community events. Other super-important and amazing organizations (to name a very few), include MomsRising, SisterSong, and The Center for Reproductive Rights.

TRACKING THE COURSE OF MUTINY AGAINST THE TYRANNY OF PARENTAL EXPECTATIONS

December 21, 2004,|By Jill Brooke, Special to the Tribune

“I tried to be the perfect mom but then buckled. It’s time for a little liberation, and I want to give moms permission to nourish a piece of themselves and then go back to wiping the kids’ noses, cooking dinner and carpooling.”

And what better way to launch a rebellion than rock ‘n’ roll? Link to ARTICLE.

Finally, let us ask the question: Why does America have the least-friendly family policies? The U.S. is the only country in the Organization for Economic Cooperation and Development (OECD) not to offer paid leave on a national basis.

“People think motherhood is inherently overwhelming because we’ve made that idea seem natural,” said Virginia Rutter, a professor of sociology at Framingham State University in Massachusetts and author of “Families as They Really Are.” “We normalize the hardships of motherhood. … This is now what’s familiar.”

LINK to article

We must continue to work together for the kinds of change that will benefit all American families and not just a few. The best way to do this is to advocate for intersectional, interdisciplinary education and activism that affects attitudes, policy, and the private/public sector in ways that support women and men and make the world an easier place for caregivers to navigate.

*Mamava is a company that hopes to normalize breastfeeding and support nursing mothers. One of their lactation spaces in JFK airport is the featured photo on this post. #Mamava #Mothers #MOM #JoinMama

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M.A.M.A. 35 – Mothers Pride with Natalie Ramus and Katie Manning

Natalie Ramus: Artist statement

With my exploration of the materiality of the body, I attempt to connect with the innately performative body in view of it’s visceral, abject qualities. Through the re-presentation of bodily materials (such as hair or skin), that have universal familiarity through subjective experience, I am interested in how the gap between viewer and artwork or artist can be bridged; the viewer becomes hyper-aware of their own body, therefore having an empathetic, perceived physical experience. I often use my body within my practice as a way of reclaiming space and time. This reclamation is motivated by my desire to challenge, illuminate and confront the expectations of women to exist within a restrictive framework of socially expected behavior in a patriarchal society. I am fascinated with the public-private and appropriate-inappropriate dichotomy that surrounds discussions in relation to the body. My questioning is driven by assumed acceptable modes of behavior in society, specifically when discussing the concept of the female in public space.

As a mother, I feel much conflict between the label of mother and how I feel as a mother, artist, feminist, etc. The notion of what qualities society thinks makes a ‘good’ mother is problematic and I wonder how the role is performed on a day to day basis. Through the juxtaposition of the immediacy of the body as battery of memory, as site and material, and domestic, seemingly nostalgic, memory-imbued objects which often carry immersive qualities through scent, (such as bread, milk or soap) I am interested in how time and memory become elastic; and how meaning is an inherently subjective perspective.

Credit Jassy Earl – Mothers Pride

Artist Bio
Natalie Ramus is a multidisciplinary artist based in the Welsh borders. Using her body as material to explore public/private dichotomies produced by societal conventions of the appropriate and inappropriate, Natalie seeks to dismantle and illuminate, challenge and provoke that which she faces as a female with a performative, visceral, abject body. Natalie’s practice was seeded in a fine art background and as her practice evolved it has become increasingly action based; concerned with the notion of installation. Natalie has performed in London, Cardiff, and Manchester and has exhibited works throughout the UK, most recently at MAC Birmingham. She graduated from Master of Fine Art at Cardiff School of Art and Design with distinction in 2016.
Instagram: natalie.ramus.artist
Twitter: @nat_ramus
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Mothers Pride
Mothers Pride is a durational performance. It is a space which, like the body itself, is autonomous. Evolving over a period of nine hours it becomes a site of meditation through action. It considers the maternal female within public space. As a mother, I feel much conflict between the label of mother- what society perceives that to be, and how I feel as a mother, artist, feminist, etc. The notion of what qualities society thinks makes a ‘good’ mother is problematic and I wonder how the role is performed on a day to day basis. I am asking myself- where do my performance of the label of mother end and my true embodiment of being a mother begin? Using Mothers Pride bread and milk, materials evocative of comfort and a nostalgic memory of happy nuclear families that never really existed, I will reclaim space. I will reclaim my right to define my own borders, my own edges, my own limits and ultimately I will move closer to understanding what these are/where they lie.
Materials: 350 loaves Mothers Pride Bread, 120L Milk, 10m Red Shibari Rope, Mop, Buckets x 5.
9-hour performance.
Performed at Buzzcut Festival, Glasgow, 2017

Credit Julia Bauer – Mothers Pride

My practice is predominantly concerned with using the body as material to explore both the physical and psychological boundaries associated with both the body and gender. http://www.natalieramus.com

Which Way Do You Want to Go?
By Katie Manning

I ask this question more than you might think, mustering my best Muppet voice every time. And now my 4-year-old watches Labyrinth as I did at his age, and I am becoming you: shuffling around the kitchen in the same style of open-toed house slippers that you always wore, baking chocolate rolls or biscuits. Yes, which way? The blue hands insist on an answer. Sometimes I look down at my hands and see yours kneading the dough.
I would choose this if I had a choice.

Originally published in Mom Egg Review vol. 16

Katie Manning is the founding Editor-in-Chief of Whale Road Review and an Associate Professor of Writing at Point Loma Nazarene University in San Diego. She is the author of Tasty Other, which won the 2016 Main Street Rag Poetry Book Award, and four chapbooks, including The Gospel of the Bleeding Woman. Her poems have appeared in Fairy Tale Review, New Letters, Poet Lore, Verse Daily, and many journals and anthologies. Find her online at http://www.katiemanningpoet.com

Credit Beth Chalmers – Mothers Pride

MAMA_Logo_2015

The Museum of Motherhood, the ProCreate Project, the Mom Egg Review, and the Mother Magazine are pleased to announce the launch of a bi-monthly international exchange of ideas and art. M.A.M.A. will celebrate the notion of being “pregnant with ideas” in new ways. This scholarly discourse intersects with the artistic to explore the wonder and the challenges of motherhood. Using words and art to connect new pathways between the creative, the academic, the para-academic, the digital, and the real, as well as the everyday: wherever you live, work, and play, the Art of Motherhood is made manifest. Download the Press Release here or read about updated initiatives#JoinMAMA  @ProcreateProj  @MOMmuseum @TheMomEgg