unperceived existence unperceived existence Issue 5: Fliss Quick - Page 12

Curator's Note

Some exhibitions arrive fully formed, sculpted and shaped by the artist and

presented in its final format to the curator, ready to hang. Others grow slowly

through conversations between curator and artist, shifting and becoming over

weeks, months or longer. Home-Maker was the latter. A kernel of an idea was

presented during open submissions - a performance of a role, now semi-

autobiographical, of wife, of mother and of homemaker and the presentation

of an exhibition within an exhibition. The result is an exhibited performance

by the artist in the artist’s own home which was acted out to anyone that drops

by while these performative acts are documented and displayed

simultaneously at gallery shush to no one at all.

Unperceived existence and its utilisation of the underground space of gallery

shush redirects the restrictions surrounding gender, motherhood and societal

expectations as public rather than private matters in art, recreating the

parameters away from the glass ceiling along a different route, one

determined by the artists themselves.

Using humour and inverting and subverting the public and private the artist

raises questions around gender roles, what it means to be a maker and a

mother. No audience steps within the gallery space, instead they are invited

into the artist’s home. The active documentation of the usually invisible labour

that takes place in private, performed day to day by the mother and

homemaker is exhibited, making them visible and putting them on view. The

photographs themselves put the artist on view as she performs her tasks yet

at the same time obscure and hide her identity from the viewer; and the

photographs’ content play on what is and is not seen through the choices the

artist makes on what task and roles are made public, and which remain private.

Novermber 2018

Laura Bradshaw-Heap