Chelsea Collis

Feminism within the 20th Century

A reflective report submitted in part fulfilment of the requirements

for the degree (BAHons). Coventry University, School of Art and
Design, 2015
Module 353 Contextual Studies.

Contents page

Artist Statement- Page 3

Introduction- Page 4

Chapter 1, The Journey- Pages 5-18

Chapter 2- Establishing Myself within Feminism- Pages- 19-24

Conclusion- Page 25

Bibliography- Pages 26-28

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Artist Statement
A moment of current time.
My practice explores and addresses the ideals surrounding gender becoming very
feministic. I achieved this by creating works that contain a subtle tone and form a
sense of celebration and appreciation of the flesh, through the use of black and white
photography. By obscuring these formations women no longer become looked upon
as a desirable object but become images of beautification, gaining appreciation rather
than negativity.
The forefront to my practice is deliberately pushing the boundaries of obscurity
allowing this to become the main visual, through working and combining both mono
printing and photography. Recently mono printing has lead me into the use of text, I
have achieved engagement of the audience to the work produced by allowing
emotional responses to become distinctive aiming to establish a strong presence with
my text based work, working large scale using a limited colour pallet of black and
red, so viewers can gain a sense of the personal and the characterisation within it.
Artists that have greatly inspired my practice are Tracey Emin and Fiona Banner, both
of whom have been significant within the changes and pathways in my practice, these
changes will be explored throughout this report.

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Introduction
Within this report I aim to clarify and justify why I work the way I do by addressing
gender issues explaining how they impact upon myself as an artist and myself as an
individual and how both may correspond to one another. Additionally I will focus
upon how these issues are also applied within artists work, by making comparisons
and connections to my own practice and other artists in ways that they inspire me, but most significantly how they interpret gender within their creations. Highlighting
their processes, mediums and other resources they combine to gain their outcome that
becomes seen as a feministic view. Allowing me to differentiate between myself as an
artist and others.

This is formed within a depth of research containing various artists that explore and
focus upon gender, but also by delving into the history of feminism. This allows me to
discover and find the foreground between subtle and confrontational art within the
world of feminism in the twentieth century. Additionally, I have looked at how this is
applied through critical judgements and arguments, which helps to gain a clear
understanding of how the artists mind has worked, in terms of their processes,
enforcing themselves as artists to become the medium and the visualisation of the
work that is produced. I am also highlighting artists that have been hugely influential
in my practice including Tracey Emin, Cornelia Parker and Eva Hesse, all of whom
explore the same notion, however diversely.

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Chapter 1
The Journey
Over the last year I have predominantly worked with the female body, establishing the
work to become abstracted and fragmented using photography as the foremost
medium. Photography is additionally explored by using various types of cameras to
gain diverse visuals and personal emotional responses. I developed a personal
connection to the darkroom over time and this was an area of work I always went
back to. In contrast with digital photography, I find film photography more engaging
primarily the process of working in the darkroom where I find myself engrossed, time
after time. I later looked at Cornelia Parker for artist research within process art, and I
was astounded by the work she creates and how she creates it. I always felt that it was
the process of making art that I enjoyed not always the end product and Parker
confirmed my views and ideas throughout as seen in (Fig 1)
During second year of my degree I began exploring

visual art using various types of cloth creating

deep
ripples and folds that had connotations of the body. Initially working to photograph
(Fig 1) Chelsea Collis Untitled 2014

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thin muslin cloths, I was attracted to the fragility and transparency of the cloth when
layered over the skin. Trying to achieve similarities of skin within the cloth I explored
other materials that would encourage this. Working with latex to bring a flesh-like
quality to the cloths I had used, I began to take influences from artist Eva Hesse and
tried to encompass how she uses latex within her sculptural work. These pieces
gradually became more sculptural whereby I would soak and scrunch cloth in latex to
achieve the effect of creased skin. (Fig 3 ) his idea was successful, however I had no
way of moving forward with its production and so it was left. I continued to work
with the cloth but in a 2D way, working with photography.
Being heavily influenced by the work of Eva Hesse, I was drawn in by the work she
created that had connotations of the body. However having no visible link within her

(Fig 2) Eva Hesse Contingent (1969)

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work (Fig 2) as something that would play a considerable part in the production of my
work to come.
As described in In Search of Her Own Language, Eva Hesse, Wolff-Bernstein
discusses how Hesses work evokes themes of fragility and disintegration and how
she uses her practice to access previous issues. Hesse succeeds at drawing the
spectator into questioning the most fundamental, pregiven realities of life. (WolffBernstein 2005)

My
work
has

slowly

evolved,
still working with photography as

medium, but now also by

exploring

the idea of fragmentation and

(Fig 3) Chelsea Collis Untitled 2014
obscurity of the female body more heavily.
I was able to photograph both male and female figures, evaluating the photographs I
had taken and establishing which gender in particular had been more successful
within the process of photography, looking at which pathway I would continue
exploring. I found that when photographing the male figure, the abundance of hair on
the body impacted on the success of my photographs. Unfortunately, the hair on the
body of the men made it harder to obscure my photography making it easier to
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distinguish what I was photographing and this is something I wanted to avoid. This is
one of the leading factors as to why I decided to work with and have continued to
work with the female body. However, this was not only the influence for my decision
to photograph only women. The simple fact that female form has a softer' and more
curvaceous appearance than that of a male was also a very valid and crucial argument.
I was focusing on the lines and creases of the body and this seemed to be more
apparent in the female figure. My aim throughout my practice was for the viewer to
be unable to understand and grasp what it is that they are viewing, but still allowing
some aspects to come through. (Fig 4)
I continued these concepts and ideas throughout the following months whilst also
exploring the use of mono-printing. Inspired by Tracey Emin, I began to draw from
my photographs; creating
abstracted drawings that
had often been described
by peers as organic. This
was due to the linear
structure that I tended
towards and how the
drawing lost all evidence
of the body due to the fact
tone was not possible
with this technique. The
drawings also became flat and unrecognisable as parts of the body.
Working with the larger female body often brings associations with in-equality and
20th century culture bias towards the ideal female figure. The definition of the term

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Pop Culture is cultural activities or commercial products reflecting, suited to, or

aimed at the tastes of the general masses of people.
In Feminism and Pop Culture it discusses this definition and what it is that creates
Pop Culture. It states that whenever we discuss a subject, whether it be
subconsciously or deliberately it becomes part of pop culture. The beauty advertising
that tells us a certain foundation will imbue us with confidence, the car commercial
that appeals to our hedonism (Zisler 2008)
Later on in the book it discusses women and feminism and how pop culture has
influence within the 20th Century. Putting feminist issues front and centre wasnt the
(Fig 4) Chelsea Collis Untitled 2014

easiest task,
unfortunately, in large
part because of the
resistance from the media
and pop culture. This

shows evidence that within pop culture, the media viewers are blinded, being given
false views and therefore portraying the world differently to how it really is. This is
further evidence as to how the population of women in the world are affected by pop
culture and how it influences everything around us.

Feminism has had plenty of battles to fight the realm of pop culture representation,
and the new millennium had introduced a doozy of a new antagonist: so called
Reality Television Who Wants to Marry a Millionaire? And it sprang from the
mean-spirited notion that women were so shallow and mercenary that they would line
up to marry a man about whom they knew absolutely nothing except his net worth.
(Zisler 2008 p123)

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In my most recent production of work I am again working with the female form but
allowing the abstraction to become more than a questionable subject. I began to
explore the sexual aspect of the photographs I produced using inanimate objects.
For instance, bringing the use of Sellotape into my photographs was simply sparked
by the idea of it being able to create more lines and distort the skin further. By chance,
a particular few of my photographs now had very clear connotations of the female
genitalia. (Fig 5)
I played on this idea of obscurity to create something that wasnt really there. As
mentioned previously, with the process of mono-printing I explored the crisp lines
produced by the process in contrast with the softer, natural more delicate lines of the
body. The photographs themselves were not particularly stimulating, as they lacked
the aspect of completeness - the photographs begged to be worked into and so I began
working with the method of mono-printing over the images. (Fig 6)
These were highly successful and added a certain fullness to them which they had

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previously lacked. Bringing the flattened, organic structures of the body over the top
of the tonal softness of the photograph was something that was greatly effective.

(Fig 6) Chelsea Collis Untitled 2014

When working into the photographs I evaluated the image itself before re-working,
(Fig 5) Chelsea Collis, Untitled 2014

looking in detail at how the body

in the picture folded, in what
particular angle the folds sat,
where the light and dark
shadowing was more evident. I

worked with these points to further develop the photograph by printing in these areas,
focusing on going against the lines of the body with the ink to create juxtaposition and
further obscure the image. To further prove this I explored how the image would look
if I worked into it further. By experiencing the more extreme side of working with this
process, the work became unsuccessful due to the fact the ink over powered the
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photograph and the image originally captured within the photograph was lost.

Later I began to think about how I could describe the body in my photographs within
my work, using texts that relate to how the person feels within their body. These ideas
were again sparked by various pieces by Emin, such as (Fig 7)
I was particularly interested in the process of mono-printing. In particular to how
Emin creates her characterisation and personalisation within her text based work.

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The
mono

printing

(Fig 7) Tracey Emin, Going to Crack 1997

allowed me to create a certain persona within my writing. The fact that it is imperfect
and has to be written backwards is something that is very appealing to view and
analyse. My mono-print texts were unintentionally establishing an anonymous
characterisation with the use of her but the texts create a character within the
description of her body and her emotions. These pieces were drew on the emotions
and feelings of how I interpreted from the model in my photography, how she felt
within her-self; Her self-confidence and the impact on her skin.
I began exploring other means of producing text; I explored hand-writing and
typewriting. The use of typewriter text worked far better than my own hand-writing. It
was precise and clean cut, something that mono-printing was not able to achieve
either.
I wanted to achieve flowing, elegant hand writing that could still be read. It would
achieve the delicacy that is similar to the type-writer yet it was hard to re-create this
fluidity with anything except a pen or pencil.
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When looking back to Toulouse Lautrecs posters from the 1890s, there was
significant evidence that he had explored the use of colour and specific fonts, this font
is significant to him as an artist.
When contrasted with female artists within in the 20th century such as Barbra Kruger,
Fiona Banner and Jenny Holzer, the use of strong, forthright text is evident throughout
their work, allowing this to be the underpinning tool to express their feministic views.
As evident in the (Fig 8) (Fig 9) (Fig 10) the use of text is not always directly relevant
to the feminist themes the work is trying to convey

(Fig 8) Barbra Kruger, Untitled 1986

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(Fig 9) Jenny Holzer Tongeren 2004

During this
visited an

time, I
(Fig 10) Fiona Banner Homus Erectus , 2006

exhibition at

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the White Cube Gallery, entitled The Last Great Adventure is You by Tracey Emin.

Emin is an artist who continues to strongly influence my practice, and going to see her
work in person was truly inspirational. After talking briefly to one of the exhibition
staff, I was told that all of Emins exhibited drawings were drawn from photographs
that an assistant had taken. Although I work with a similar subject matter, I have never
included myself in my work; I have always requested a model, yet this understanding
that Tracey Emin draws from pictures of herself sparked something within me.
Emins work often establishes a strong characterisation within her text based works
that touches on personal feelings and emotions, something that has always been
evident within her work and which she is famous for doing.

Particularly in
My Bed (Fig
11)
Her
written mono-print
evoke themes of storytelling and
Emin allows the reader to gain intimacy

pieces
confessions.
and build a personal

(Fig 11) Tracey Emin, My Bed 1998

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understanding with the work she

creates by showing her insecurity
and imperfections. (Fig 7)
Whilst I am always evaluating my
work and recognising where my
work could be developed further, I
had various tutorials to discuss
these issues. I had a tutorial with
Rachelle Vaider Knowles. Rachelle
has been good for me as she has
made me realise I should be
constantly critically evaluating
what I was doing at that point and
why I was doing it, making me aware of every aspect of my practice. Rachelle has
also helped me gain knowledge of what it is that I was looking for around my ideas,
why I wanted to do them, how they would be conveyed once they were executed. I
also had a lengthy discussion with Rachelle about my issues of bringing in views of
feminism and inequality throughout my work. Rachelle has helped me gain clarity
and acceptance of feminist views and art, and she has also encouraged me to pursue
these ideas as it was clear I felt so strongly about them.
I also had the opportunity to have a discussion with guest artist Leesa Streifler who
was due to do a lecture on her practice later on that day. She works predominantly
with herself as the subject but focuses on specific areas such as the body and feminist
issues.
We had the chance to sit in my studio space and discuss my work. I felt that it was

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good to have somebody with a fresh perspective to view my work and inform me of
the strongest features, and possibly gain knowledge of areas I could improve on. It
was useful to see if my intentions of obscurity as a theme were conveyed successfully.
Leesa said that she was drawn in particular to the pieces created with the type-writer.
(Fig 12) She described these pieces to be more eye-catching and far more engaging
for the viewer. The size of the text from the typewriter is a primary factor as to why
these pieces intrigued the viewer.
I also expressed my issues around labelling myself a feminist. Leesa was very
supportive and reassuring of my issue. As an artist who is happy to be described as
feminist I found her interesting to talk to and help encourage my way of thinking
surrounding feminism. She encouraged me to follow this idea inclusive of my recent
exploration of text.
(Fig 12) Chelsea Collis, Untitled 2015

Leesa often portrays herself within

her work and this was something I
found to be not only very brave
but also crucial to my knowledge

and research of feminist art. As mentioned previously, regarding how Emin uses
herself within her work, it is apparent that most feminist artists use their own body
within their work. This shows evidence of strength, acceptance and self-appreciation
of their own body and being a stronger theme throughout feminist art. Leesa went on
to help me to plan future pieces and ideas, also giving me vital artist references, some
of Barbra Kruger, Fiona Banner, Ed Rucher.
I mulled through these ideas and evaluated whether it would be worth making such a
large move away from what I begun as an artist and if it was a good idea to change
course so close to the end of my degree.

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Chapter 2
Establishing myself within Feminism.
I toyed with the idea of putting myself under the label of feminist artist, and began
to read up on gender roles and equality within genders also looking at artists who
create work surrounding these issues. I also read books based around the history of
feminism and the impact it has had on society over a period of time.
I was brought up with feminist views and political discussions where a regular
occurrence at the family dinner table. My mother worked for a trade union for a
number of years and shared her knowledge of the issues and troubles women have
suffered, often telling me stories of Emmeline Pankhurst and The Suffragette
Movement. This is echoed within my views of equality and a level of understanding
of the feminist movement. It is this background knowledge of feminism that initially
encouraged me to pursue my ideas and allow
it to become part of my practice.

Fig 5, by Sarah Lucas gives off a very

aggressive stance and I do not feel that it is
essential for female artists to create such work
simply to achieve feminist themes, however it
also evokes themes of humour and selfdepreciation and this is re-occurring
throughout her practice.
I had been reading various books that had
helped me gain extensive knowledge of
Fig 5. Sarah Lucas, Self-portrait
with Fried Eggs, 1996

feminism and its history and it is this I am

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particularly inspired to investigate further and try to bring these theories into my
practice in a more subtle way. The idea that I want to bring feminism into my work,
but only with underlying connotations and fragmentation is similar to the idea behind
my own practice, and I believe this is a major factor in my reason for swaying against
creating feminist based works.

One of the first books I read on feminism was -Contemporary Feminist Theories
(Jackson and Jones), a book that helped me gain an extensive knowledge of the
history and theory of feminism over the last 25 years.
In the introduction entitled, Thinking for Ourselves, one statement in particular
stood out to me Feminist theory is about thinking for ourselves- women generating
knowledge about women and gender for women. However, this begs the question,
are we not mimicking the male by thinking like this? By putting all females under the
name of women is this defeating the object behind feminism as a whole?
However, we should see feminism not only as a term used for equality among genders
but also among races, sexualities and social classes. Further on in the book the authors
touch on the history of feminist struggles in the 1970s, - The academic world was
itself an area of struggle for feminists. Women were still a tiny minority of those with
secure academic posts (p4) I feel that the history behind feminism is something
that I am passionate about, being able to continue this ability to empower and
encourage equality throughout all areas. Further research into feminism lead me to
investigate the female nude within art and how women have been portrayed over the
years. My initial reading took me to The Female Nude; Art, Obscenity, and Sexuality
(Nead 1992). The female nude has been a prominent figure within the art world for
years, being displayed on the walls of galleries everywhere, therefore becoming a

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regular appearance. This would evidently later lead to confidence issues within the
female population. Woman looks at herself in the mirror; her identity framed by the
abundance of images that define femininity. She is framed- experiences herself as an
image or representation- by the edges of the mirror and then judges the boundaries of
her own form and carries out any necessary self-regulation, (Nead, 1992, p11) the
underlying aspect of self-worth and appreciation is something that I find prominent
within the feminist culture and literature and I do believe it is an issue that needs to be
addressed within society- However, it has been explored throughout the art world for
a number of years and this is the main reason why I do not feel comfortable pursuing
it. I do take into account that it is a struggle for women widely however, - after further
investigation it is not something that I want to pursue within my practice as a wider
theme.
Other books that I researched lead me to understand how social class is also an issue
that is addressed throughout feminist theory. Pilcher and Wheleans book Fifty Key
Concepts in Gender Studies it discusses class in general and how it is used to analyse
social divisions. People are grouped into different classes according to their relative
position in an economically-based hierarchy.(p13) This is additional evidence of the
uneven distribution of class throughout the system in place today; it mentions how
workers own nothing but their labour power and capitalists who directly own the
materials and machines.
Following

on with a discussion how Marxist theory is compared with more

contemporary class analysis, it mentions how more recently classes division is

justified by their occupation and pay; leading to the question what the relationship is
between class, gender and race. (p14)

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I believe the underlying relationship between these three topics would be the evidence
of discrimination and inequality in day to day life. In todays modern world, I do not
feel that segregation of class should be evident. The topic of equality is also discussed
within this book, exploring how it can be defined throughout all areas.
Other books that influenced my views on these issues were, Gender Studies: Terms
and Debates (Cranny-Francis et al. 2003), and Women in Contemporary Britain: An
Introduction (Pilcher 1999).
Further investigations lead me to Contemporary British Women Artists, in their own
words (Fortnum 2006) a book which enlightens on the wider of feminism within art.
Discussing processes of developing art and the struggles to create work within a level
of intellectual and political standards. It also discusses feminism throughout art
culture.
In these interviews I believe we witness the impact of this feminist consciousness on
art practice, both directly and individually. For example, the important feminist artist
Mary Kelly, who practiced in the UK in the eighties, is cited by several of these artists
as a key point of reference. The fact that none of these artists in this book define
themselves as feminist artists does not signal feminisms failure; this would be to
misunderstand its strength. Indeed the triumph of feminism (within the visual arts at
least) has been its ability to integrate the real issues affecting women into the
language of contemporary art. (Fortnum 2006, p7)
These findings lead me to further understand and appreciate female artists who do
define themselves as feminists who work with openly with these themes. I wish to
further investigate feminist practice within my work.
Similar to the artists in Contemporary British Women Artists, in their own words
(Fortnum 2006) I do not define myself as a feminist artist however I do have strong
feminist views. This is echoed within my current practice, heavily influenced by the
work of Fiona banner and her large-scale, texted based works. My work has slowly
developed a characterisation and storyline of two people, exploring the use of

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descriptive text, aiming to create a level of tension upon the viewer, similar to how
Barbra Krugers use of specific text makes the viewer almost feel guilty when reading
it. This is due to the language use and specific text known to gain a reaction. (Fig 8)

Throughout my journey of exploration I read Gender Trouble (Butler 1990). This

was crucial in the development and understanding surrounding the issues of gender
and its equality. Within the first chapter it discusses Women as the subject of
Feminism. It discusses the issues of segregation of gender as a whole, quoting Luce
Irigaray- Woman does not have a sex (p1) this quote is essential to me for the
further understanding of gender within feminism. It leaves me wondering why women
have been segregated for years and why women play up to this knowledge that
women are constantly overpowered by the male figures in society. It also leaves me
questioning why women have to work so hard throughout feminism to achieve
simplistic and basic rights.
Although the unproblematic unity of women is often invoked to construct solidarity
of identity, a split is introduced in the feminist subject by the distinction between sex
as gender. Originally intended to dispute the biology-is-destiny formulation, the
distinction between sex and gender serves the argument that whatever biological
intractability sex appears to have, gender is culturally constructed: hence, gender is
neither the casual result of sex not as seemingly fixed as sex. (Butler 1990 p6)
I find the issues around gender equality hard to come to terms with, why is there still
such conflict surrounding it? As a female I am still a person, we are all people, and
regardless of gender surely we all deserve the same respect? This is something that I
have worked into my practice by exploring the relationship between males and
females and their sexual interactions. How each of them has been emotionally
affected by these encounters and how this physically impacts on their body. The

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underlying themes of how society is affecting gender is evident throughout my current

practice.
So how have these findings established me as an artist and thus affected my current
practice? All of the artists mentioned previously have heavily influenced my practice
within the subject matter and the processes used to create my work.
Recently I have taken significant influences from artist Fiona Banner, particularly her
text based work which is somewhat explicit.
Taking this into consideration text has now become a key element within my current
practice. Creating elaborate scenarios that generate tension and unease for the viewer,
whilst still evoking themes of eroticism and passion. Experimenting with size and
scale is another area of exploration that was drawn from Fiona Banners work. I will
be investigating the impact of scale used in my text in contrast to my previous
typewriter based practice. I particularly want to upscale the text commanding the
attention of the viewer, therefore forcing them to read every line.
My findings within feminist theories have allowed me to gain knowledge and
therefore power within my argument for a fairer society between genders. How this is
addressed throughout society, parliamentary politics and the art world is the main
motivation behind the work I produce.

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Conclusion
When I started this reflective report I had a limited knowledge of feminism and how it
is portrayed throughout the art world. I was interested to learn how art can question
feminist ideas and how this can still have an impact on society at this current time.
My recent findings and further exploration has led me to understand that I am a
feminist artist. However I feel I do not need to share this so evidently throughout my
fine art practice.
I have been exploring the use of fragmentation and obscurity throughout my work for
a while. I have realised that this is something that I can continue to work with,
through various subject matters, processes and the idea that my feminist views are
only partially evidenced within my work. I do not wish my work to scream feminism
as formerly discussed, I want it to have subtle connotations inspired by feminist
themes and views.
I also feel that by obscuring the female I am almost giving back dignity and self
respect to the female by changing the way women are viewed, they become a
beautiful form rather than as earlier described as a desirable, sexual object.
I want people to view my work with an open mind. The idea that someone would be
harshly critical of my work because of its feminist overtones is astonishing, and
something I want to change. This is echoed throughout my work and is something that
I have always felt strongly about. In reflection the influence of my researched artists,
Tracey Emin and Eva Hesse is already evident in the work that I create.
Overall I feel that my exploration and reflection has allowed me to begin a pathway
for other female artists to follow should they feel the same.
Feminist or not, women should embrace their independence and equality indefinitely.

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