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@cassandrafinearts
i want my work to tell my story in the same way my skin does
my skin holds the narrative of my life - littered with freckles from days spent outside in the sun, scars from accidents and scars from my own hand, tattoos that have profound meanings to me and tattoos i did in manic episodes, stretch marks from when i grew into a woman, burst capillaries from ingesting too many substances, smokers lines and smiling lines.
i want to recreate myself in a non human form
but she skips breakfast - unfinished
this work is the first tapestry in the series i am making, an experiment to see if this form of crafting works with what i am trying to say
even though it is not quite finished i’m quite satisfied, i think making this work is very therapeutic as i get to express my emotions but i also get to be gentle with them, stitch them carefully, take my time to process what i’m confessing
i have grown attached to this work as i have spent so much time with it, i lift it carefully to move it as it were my child
it is my child, it came from me
i birthed it from my brain and raised it with my hands, smiling at the pinpricks on my fingertips as i knew they were not without cause.
page from my journal
Joy Ivill - The Billy Bumps series of embroideries
Joy Ivill - The Billy Bumps series of embroideries
Joy Ivill - The Billy Bumps series of embroideries
currently:
at the moment i am moving into turning my paintings into tapestries, working in a traditional feminine way of craft to talk about my experiences and emotions as a women, in a way flipping the misogynistic viewpoint of female artists only making work that is considered pretty and surface level.
tapestries traditionally tell stories which is why i have chosen to use them to present my confessions, purge my pain and in a way stitch together all the parts that make cassandra.
Don't Just Fuck me. Love Love Love ME.
Tracey Emin.
Love me-me-me.
1997.
Tapestry, the Art of Weaving: Gobelins Designs, Beauvais Wall-Coverings: Angers Apocalypse, Cloth of Saint Gereon
Pysco Slut by Tracey Emin (1999)
In my last supervisor meeting Te Ara and I were talking about the concept of story telling through the histories of tapestries and i was instantly reminded of this work by Tracey Emin.
I find Emin an extremely relatable artist as she is also confessional, she inspires me to be bold and unafraid. I create to process, to purge, to puke up my pain in hopes to be heard, to feel listened to without having to communicate verbally.
I want to look into turning my works into tapestries to share my stories.
Today, I wanted to explore through some weird and wonderful creative works made by one of my all time heroes in music, Kurt Cobain, the iconic frontman of th...
i loved this video, with how creativity connects with real life!
Get Surfshark VPN at https://Surfshark.deals/dweller and enter promo code DWELLER for 83% off and 3 extra months for free!There is something particularly poi...
“Close up of Cy Twombly's mesmerizing 'Untitled [Rome]' (1961)
what i love about this work is not only the application of paint but the removal of paint aswell, it is emotive and expressive and strays from tradition.
the carving of the paint makes the work energectic, almost as if the artist was in a rush to create, the work simply had to exist right then and there.
i take inspiration from this particular close up because it has life. the lines are blurred between artwork and creature. it appears multifaceted and captures many emotions, more animalistic than human.
i was discussing with jill how it would be in my best interest to create some small works to connect my two styles i’m presenting for mid year.
and these three were born!
these works work in an expressionist, confessional field, unpacking my personal experience with imposter syndrome and hiding behind a idea of myself.
pu$$yfuck is the tag that i use, an anonymous way to leave my mark on a space. i enjoy the idea of creating work under an alias, not having to be cassandra. these works explore my feelings of being lost, having a lack of identity, not quite sure who i am or what my purpose in this messed up world might be. they ask questions that the viewer cannot answer, questions that i constantly wonder but am unable to work out myself
the broken heart is filled with overlapping confessions of how i feel broken as a person, unable to love without hurting the person i’m loving. it is a messy cartoon, girly work that deals with heavy content. the contrast of this “lightens the blow” but also references how i don’t feel like the problems i voice are ever taken seriously because to societies standard, i am a girly, pretty person.
“the words i wear”
this work is a confessional piece, a quotes from men that have said horrible things to me vs wonderful things. each sentence has stuck with me, has had a either a positive or negative effect.
i took inspiration from Cy Twomby in this work, adapting his expressive gestural writing style to mimic carving (relating to the “carved by god quote” painted in my pretty thing work) the intention of this is to attempt to communicate my feminine pain to the viewer. The work is seperate pieces that are visually similar, both long strips of canvas with a flesh toned wash and writing that invoke and relate to two different emotional states.
this work is a yin and a yang, a display of the duality of men.
i’m not explaining why these things were said to me. I’m not trying to explain who i am as a person. The work is open to interpretation, i have not spelt out that these are only quotes from men. It is a purging, a re-living for me as an artist, an example of self expression, a secretive confession that tells a story and captures moments from my life which have impacted me greatly.