Seamed
This work was created and photographed within my own home. By constructing each scene in a domestic setting, I directly engage with the complex and often constraining relationship between femininity and the home—both as subject and site. The act of looking has historically been shaped by a male perspective. Reflecting on the patriarchal systems that structure not only the art world but visual culture more broadly, I aim to re-examine traditionally feminine, domestic-based practices—often classified as ‘crafts’. These methods, largely practised by women, have long been dismissed or undervalued in relation to so-called fine art. My work draws on techniques such as sewing and floristry, and also takes inspiration from still life—another frequently overlooked form. In the seventeenth-century hierarchy of genres established by the French Academy, still life was ranked lowest, considered lacking in intellectual substance due to its absence of human figures. Women, excluded from formal art education and life drawing classes, were often restricted to painting flowers and household scenes—works typically seen as decorative, amateur, or domestic rather than serious artistic endeavours. In response, I construct still life scenes using materials such as flowers and foliage, which are sewn, tied, bound, and suspended into carefully arranged compositions. These are staged and photographed in my home using a large-format 8x10 camera—a slow, deliberate process. By physically manipulating and dominating the scene, I reclaim authorship. I carefully control each step of the photographic process myself, from constructing the scene to developing the sheet film and hand-printing the final image in the darkroom.
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This work embraces the complex relationship between femininity and domestic space revealing it to be constrictive and imprisoning. The authorship of looking has historically been masculine. Reflecting on the often-patriarchal systems that govern not only the art world, but also the visual world, I want to re-look at the traditionally feminine and domes- tic based practices, ‘crafts’. Historically the art world has overlooked craft skills, particularly those produced by women whose works were often seen as inferior. My work is influenced by crafts such as sewing and floristry but also takes inspiration from another overlooked art form, Still Life paintings. In the hierarchy of art genres established in the seventeenth century by the French Academy, Still Life was ranked at the bottom, the noblest form his- tory painting at the top, then portraiture, genre painting, and landscape. Still life and landscape were considered lowly because they did not involve human subject matter. This ranking was based upon ancient literary parallels and formed the basis of academic teaching across Europe. Women were excluded from Art Schools and barred from life drawing classes, flower paintings and domestic Still Life painted by women were often dismissed as hobby rather than mastery. In my own works I carefully construct still life scenes: flowers and foliage are sewn, tied, bound and suspended into position before the camera. This controlled method is integral to the resultant pictures, using a large format 8x10 camera to capture the fabricated scenes. I carefully control each step of the photographic process myself, from constructing the scene to developing the sheet film, and hand printing the final image in the darkroom.
Seamed
