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‘Milk’ 2023 - explores our relationship with milk and it’s place in politics, society and culture. I found this exhibition relevant to my practice with relation to my work in the past units and future work I plan on creating. Highlighting how this highly politicised liquid can provide care and exert power.

My exploration between nurture and symbiotic relationships took focus on child and mother relationships, so this display of connection through breastfeeding took my interest. Also using childhood imagery is something I am interested and in the future I plan to make a piece that explores bad habits and false nurturing in adult life, but through the physical form of dummies. I hope to make a sculpture with multiple dummies facing outwards and possibly a performance/ video of adults gathered with the dummies in their mouths, considering in a ‘false mother’ to provide comfort.

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BOOKS

Philippe Ariès (1973). Centuries of childhood : a social history of family life. London: J. Cape.

Holland, P. (2006). Picturing childhood : the myth of the child in popular imagery. London ; New York: I.B. Tauris.

Rachel Rosenfield Lafo, Dempsey, K., Higonnet, A. and Decordova Museum And Sculpture Park (2008). Presumed innocence : photographic perspectives of children : from the collection of Anthony and Beth Terrana. Lincoln, Mass.: Decordova Museum And Sculpture Park.

Blackmon, J. and Reese Witherspoon (2014). Homegrown. Santa Fe, Nm: Radius Books, New York, Ny.

FOX, MARY., Fox, G. and Haldemann, A. (2021). Vanessa Baird.

Valli, M. and Dessanay, M. (2011). Microworlds. London: Laurence King.

Wood, S. (2012). Museum of Childhood. Victoria & Albert Museum

WEBPAGES

Levcikova, E. (2022). Fantasy vs. Reality in the World of Young Children. [online] Little Gems Cyprus. Available at: https://www.littlegemsmontessori.com/single-post/fantasy-vs-reality- in-the-world-of-young-children.

ParentMap. (n.d.). Today’s Kids Have Less Freedom Than We Did: Is This Good or Bad? [online] Available at: https://www.parentmap.com/article/kids-less-freedom- independence-previous-generations [Accessed 2 May 2023].

Drew, C. (April 19, 2019). Social Constructions of Childhood – 14 Examples. Helpful Professor. https://helpfulprofessor.com/social-constructions-of-childhood-examples/

Ryu, J. (n.d.). ‘You’re so mature for your age’ isn’t always a compliment. Sometimes it’s from trauma. [online] USA TODAY. Available at: https://eu.usatoday.com/story/life/health- wellness/2021/11/29/trauma-forces-some-children-mature-here-their-stories/6358716001/ [Accessed 2 May 2023].

JOURNALS

Spector Person, E. and Klar, H. (1994). Establishing Trauma: The Difficulty Distinguishing between Memories and Fantasies. Journal of the American Psychoanalytic Association, 42(4), pp.1055–1081. doi:https://doi.org/10.1177/000306519404200407.

Good, M.I. (1994). The Reconstruction of Early Childhood Trauma: Fantasy, Reality, and Verification. Journal of the American Psychoanalytic Association, 42(1), pp.79–101. doi:https://doi.org/10.1177/000306519404200106.

Jirata, T.J. (2018). Folktales, Reality, and Childhood in Ethiopia: How Children Construct Social Values through Performance of Folktales. Folklore, 129(3), pp.237–253. doi:https://doi.org/10.1080/0015587x.2018.1449457.

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If I Had Known My Mother Back Then - Danielle delph

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If I Had Known My Mother Back Then - Danielle delph

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Danielle inserts her own child self, into her mother's childhood photos, posing an alternative reality where her and her mother could've shared this stage of life as equals and possibly even friends. I like this idea of the importance of our timelines and how we are all children once, just at different times, and even our parents are just children who grew up.

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In Ken Okishii's installation he uses boxes and items from when he was moving around a lot as a child, having no one stable place to create memories course be seen as using these items as placeholders for a feeling of unbelonging. This is a reinvention of the 'ideal childhood' that is painted out and shows us the reality of his childhood in a reflective sense.

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Ron Mueck creates incredibly realistic, and huge sculptures of the human body. in some of his other exhibitions he displays an unusually large baby, allowing us to question how we can easily see children as small and fragile, I feel as if he uses size to ponder a child's capability and power. This heavily relates to my current project due to my mention of AIWS and translation in size changing something's overarching meaning or depiction.

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In this painting I gather the image of a young girl in a reflective state, the colours and overexposure cause the piece to appear dream-like and inverted. I like this reflective nature as it corresponds to my practise however this piece seems to be looking at present reflection on the current self rather than a past version. The girl in the painting sees exactly what she is, no false memory or recollection but the true image translated through a mirror.

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- Alphabetical order bibliography

-more citations

- more depth of analysis

-less broad subjects/too many

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Balloons that were in the exhibition, gathered around my piece so this was unintentional but I loved the way they complemented my piece and added this temporary delicacy and fragility.

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This exhibition ties together the idea of a temporary state, a moment, process or something that exists briefly. Touching on the human condition and ecological values, the ephemeral nature held within momentary things will be explored through video, sculpture, painting, drawing, installation and sound with the present message being that something fleeting can alternatively have an intense, permanent and lasting impact. This includes subjects of the Anthropocene, grief, nostalgia, impulse and trauma that intertwine with a fragility and delicate nature to allow our exhibition to be both nurturing and confronting. The processes / stages of development of something melting away or building up slowly are gradual but create some kind of absence that is shocking in conclusion. Through the exhibition, self questioning will be provoked from our pieces as the societal, ecological, and personal subjects addressed also embody the requirement for reflection, we want vulnerability to be a lense into addressing challenging ideals. The intricate essence found physically and thematically creates a caution around the structures or subjects of our works, the feeling this delicacy could be easily broken or destroyed allows the work to be empathised with while also giving it power. Artists within this exhibition use materials such as glass, ice, wax, metal and wood providing a very raw, untouched and transparent element to the aesthetics of the work combined, with the added use of sound, movement, light, shadow and performance ( within video) the work is given the ability to become alive and creates this space that borders on the line between intangible imagination to harsh reality.

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The Process, using lamp work to create glass sculpture

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pictures of my sculpture in natural light, shadows cast by sun and not artificial spotlight. the natural sunlight also illuminates the glass pieces.