Remember your Thong Collection

thong

Who was in their late teens, earlier twenties at the turn of the Millennium?

Remember your thong collection!

The underwear which stamped our generation of alpha females. We lead the way for third wave feminism with our underwear which really did show off our bums.

The first wave of feminism lead by Emmeline Pankhurst got us the vote, The sixties offered us effective contraception through the much love ‘Pill’. Abortion rights were introduced and free love became the spirit of the decade.

The seventies were characterised by second-wave feminism, with this came divorce and couples which no longer wanted to be together separated. Women were now able to gain their freedom back from unhappy marriages and able to move on and find new partners.

HIV and Aids topped the headlines throughout the eighties, we became more aware and safe sex was the name of the game.

What came next: the nighties and the turn of the Millennium which brought in third wave feminism and the rise of raunch culture. We were the ladettes, the females which knew how to make decisions about what they wanted. We didn’t want marriage, we didn’t want engagement, we didn’t want serious relationships. We were the generation of young women who turned around and said:

‘We want casual Sex!’

We were the girls how wanted to go on top in the bedroom and we lead with our thongs.

It was a consumer trend gone mad. They were all that were on sale in the younger fashion shops: Top shop, Miss Selfridge and River Island. The supermarkets got in on the act and George at Asda were doing 3 for a £5. Even the Great traditional British institution: Marks and Spenser had them on sale. Share houses, rented flats and clothes dryers across the country paraded collections of triangular, string combination thongs.

But do you remember how uncomfortable they were?

When they used to rise up and function like a cheese wire trying to cut through the central valley or your bottom. Rising up higher than the waistband of your low slung jeans and make an appearance to those all around you. The tin string marks you used to get from the lack of support offered by the flimsy creations.

So we lead with our bum checks on display, but now we’ve all settled down we get to wear much more comfortable underwear, briefs and little shorts now adorning our lower regions.

We are comfortable!

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BBQ Weather?

BBQ IMage

BBQ Weather?

It most certainly is…….to make the occasion I thought I would share an extract from the novel being written: Casual Nexus. The events, characters and occurences are strictly fictitious.

 


Today had headed towards the same remote area of the National Park, finding a desolate parking area his odds had looked good, however it was still before midday and there may be more day trippers later in the afternoon. His first move was to go for a walk around, realistically he couldn’t carry the corpse for three or four hundred meters. He finds a spot surrounded by tree’s and shrubs, this is his spot he declares low in volume but out loud. He collects the shovel, grid and coals from the back seat of the car. He begins to dig a large pit, going down almost four feet, scattering much of the soil amongst the scrubs so as it appeared less had been dug. Starting a fire in the grid he puts the grid in place.

While collecting the burgers and the chicken he opts to grab the suitcase as well. On returning to the fire pit he places the meats on the grid, the perfect cover. The flames have died down and the coals are white, but the pit is too deep for the meats to cook. It doesn’t matter he thinks to himself, he can eat when he gets home, just as he was debating opening the suitcase a dog suddenly joins him. The spaniel begins to sniff around the meat, he shouts get away and goes to kick him hard. The owner appears, shouting the dog, as comes over to put him on his leash he looks into the pit:

‘Looks like you dug that a little too deep.’ he addresses the man.

‘I prefer it that way, the meat gets cooked over a longer period, I call it slow cooking out in the wilderness.’ he responds ‘What business is it of yours anyway?’

‘I was just expressing an opinion!’ retorts the dog walker, as he strides off he murmurs ‘That will never cook to himself.’

When the canine and owner are out of sight he decided to wait a while before the next step of his carnage plans in case they return. He had lost reception on his cell but the timer display way still accurate. After around ten minutes he had a quick scout around, as there was no-one to be seen he moves the grid and empties the contents of the of the suitcase into the pit. After adding some lighter fuel the flames rise high engulfing the bedding from the motel and the clothes he had been wearing the previous evening. Although it is summer it is an unusually cold day, he warms himself from the heat of the fire. As the fabric are reduced the cinders he replaces the grid and the illusion of the barb-e-queue re-enacted.

Becoming a waiting game he begins to work through time sequences in his mind as he waits for dusk. Twenty-four hours since he arrived at the motel, twenty-four hours since he entered the restaurant, twenty-four hours since he first met Bara. As the night falls he heads towards the parking lot,

‘Such a silly girl’ he thinks to himself, ‘If she had of been quiet I wouldn’t have needed to kill her.’

His car is the only one remaining and there is no sign of anyone in the vicinity. He carries the body in the duvet, again trying to make it look like a sports bag just in case someone is lurking about.

He had kept the fire going, into the pit goes what is left of the Czech girl, head first then legs bent around. Again lighter fuel intensifies the flames, corpse becomes engulfed in flames. First, the burning of the skin didn’t seem that different to the earlier smalls from the charcoal, the muscle scented like beef in a frying pan, the fat similar to pork on a grill. The iron-rich blood still present giving off a coppery aroma combined with a type of musky sweet perfume created by the bodily fluids. As he resists the urge to vomit he looks towards the bite marks on his wrists, ‘Such a silly girl,’ he retorts to himself.

After around thirty minutes and a good prod around with a stick, the remains look to have been reduced to ash as much as possible. He then begins to fill the pit with soil he had removed earlier. Now, only two feet deep he starts a new fire in the pit, as the flames flash up he picks up the grid, discarding the meat into the bushes and puts it back into place. As the flames diminish he decided to make a move, it will simply look like a BBQ pit tomorrow if anyone walks through the natural enclosure. The last twenty-four hour ago, marker clicks into his mind as he drives in the direction of home, twenty-four hours since she made me throttle her, such a silly girl.

ED

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ED

Erectile Dysfunction

‘ED’ is the latest conceptual based sculpture from Alison Little identifying issues around impotence.

In the works, she utilises similar techniques of constructing a polythene outer shell then simply ‘Stuffing’ the form with shredded paper. A concrete base is used to engage with a free standing frame, approximately 1 meter tall in height. The use of red tones to show the rush of blood to the groin area, grey papers filling the sex organs to indicate a lack of response. A black cord is lashed around the foreskin area then brought through the scrotum, finally being attached to a traditional style weight to emphasize the lack of ability to gain an erection.

The main lower body of the sculptural piece to be filled with printed statements of relevance to impotence. A range of colloquialisms such as lame and limpet, moving towards more scientific terms such as infertility and erectile dysfunction. The progressing to the psychology behind the issue: masturbation from much before the teenage years and the extremes of men who are unable to perform in normal sexual circumstances but can gain an erection in a sexual violence situation.

The weight attached to the end of the penis highlight how it cannot become erect, on a secondary note it is bell shapes and echoes the popular English Pun where the term ‘Bell End’ is used in reference to the glands (Head) part of the penis.

On the surface level an entertaining piece, on deeper inspection a thought-provoking collection of statements informing us of the darker side of human nature.

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Artist Talk: The Female Suspension

Legs one image copy

The Female suspension is an installation which addresses a world of sexual violence. The lower bodies and limbs of numerous women who have been raped are suspended by chained, hooks penetrating their groins. Meat like, a waste product, violated then disposed of like an animal carcass meat still to be stripped from the bones.

This will be the fourth installation to take over at 5 Bold Place as part of the art in windows project. Art in Windows is a small organisation that works with landlords and artists to commission and curate temporary and permanent artworks for display in empty windows in and around Liverpool. Windows have varied from those in empty shops in the city centre and on local high streets, to empty units in shopping centres and even in houses on residential streets. Art in Windows’ displays range from a single installation for two weeks, to a series of different installations across many months.

The form is a female abdomen and legs extending down to the feet. Each represents a rape victim, The World Health Organization (WHO) estimate:

Global estimates published by WHO indicate that about 1 in 3 (35%) women worldwide have experienced either physical and/or sexual intimate partner violence or non-partner sexual violence in their lifetime.

(WHO, media centre, Violence against women, fact sheet, updated November 2016)

The charity Rape Crisis England and Wales respond to an average of 3,000 calls per month from women who have been raped. In April 2017 there were 422 recorded violent and sex offences recorded in Liverpool alone. It is estimated that only one in every ten incidents of rape are reported to the Police: the actual figure is projected to be much higher.

Polythene and shredded paper are used to create each of the sculptural works, red toned papers are used around the groin area to reflect the pain suffered from the attack. Wire wool is used to represent the pubic hair, this demonstrates resistance from the violation. The lack of upper body and stones in the feet show a woman who was unable to oppose the onslaught. The hook is driven through the groin area, this enables us to reflect upon the extreme violence used in sex attacks. We view to forms suspended in a warehouse environment, infinite in number and we are given the impression that more will simply be added to the collection.

Alison Little, the artist behind the Female Suspension, she has been North -West based for the last decade and worked on commissions from the Superlambanana trail to the Penguins. Her most recent conceptual works are SV: Sex by Violence, a series of four animated sculptures which show the different stages of a sex attack. They were exhibited in a solo show at zauhause gallery, Gostins Hanover Street (Liverpool City Centre) in July of 2017. In the months prior to this, she curated a group show ‘Shatter the Silence, Violence against women’ held at the Quaker Meeting House, School Lane (Liverpool City Centre). ‘Life from the Waist Down’ is the fourth of the series, representing the recovery process it was exhibited at Unit 51, Baltic Triangle (Liverpool) for 2016 Mental Health week. On the previous year she showed Brainscape as similar human head form and in 2014 Bipolar B was created for the celebrations at the Williamson Gallery in Birkenhead. In 2016 she worked on a commission for the race equality centre in Derby where a polyethene figure and a broken wheelchair were created to draw attention to race hate crime. Her first work relating the sexual violence was in 2014 for the Speaking Out exhibition at Embrace Arts, University of Leicester. The work was exhibited and Alison attended the Speaking Out conference where she addressed the delegates on the thought processes behind her work. Prior to that, she ran a successful funding bid and project managed the prospering ‘Rags Boutique’ as part of the ‘Shops up Front’ scheme from Liverpool City Council. This was an exhibition space and workshop venue was the use of found object was utilised to maximum effect. Alison helps Organise the Reclaim the Night March held in spring in Liverpool annually. The intentions behind the exhibition as a means of activism against sexual violence and to play its role in her campaign work.

The Female Suspension which will shock, inform, evoke debate and lead to social reform in direct regards to Rape crime.

Exhibition runs from the 5th of March, 5 Bold Place, Liverpool, L1 9DN

Free view from Street location.

Artist Talk to be held on International Women’s Day, Thursday the 8th of March from 6.30-7pm. Talk starting at Bold Place then either being held inside or to be moved to another location possible to be provided by John Moores Uni. Details to be confirmed, to book:

Free Ticket

Art in Windows

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Making an old £5 note count again

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Birkenhead based artist Nigel Leslie has been selected as 1 of 100 important artists to decorate an old £5 note for a charity auction. Names already signed up include the Chapman Brothers, Gilbert and George, Gavin Turk, Liverpool’s iconic Peter Blake in addition to Cyrano Denn aka Danny Crone.

‘Fivers for Artistic’ is a bright new charity set up to help mentor new young artists to overcome barriers and become self-sustaining within the art world. Fivers for Artistic said:

‘The aim of “FIVERSFORARTISTIC” is to collect 100 old fivers and convince important contemporary artists to sign and then decorate the fiver in any way they wish making the note completely original. Artistic will then auction the collection of fivers to raise enough money to launch Artistic as a CIO charity.’

‘Artistic’ the charity behind ‘Fivers for Artistic’ is a wonderful charity ran by volunteers to build creative communities and support artist’s, many of the participants are autistic.

Leslie spent the mid-nineties studying in the Capital, falling in with the Jarvis Cocker, Damon Albarn and Damien Hirst crowd that centred around St Martins. After a decade of hard parties, sofa loafing and at times making some Art. He returned to Liverpool in 1999. Through his abstracts, he combines figurative forms which play strong relation to the environment in which they are placed. Indications of human forms appear to effortlessly wiped onto the canvases. Some imply elements of bone structure and skull forms, weapon like straight edged are often added. The simplicity of the often brightly coloured environments which the figures have been placed often suggest disturbance. ‘Wrecked’, one of Leslie’s latest works was created last year and reflective of the emotive relationship which is played out within the Metropolis, directing us towards feelings of turmoil. We get the impression of a ship like for from the base, an indication of an old-fashioned wind powered, sailing vessel. Central to the ship there is an indication of a central figure, possible a human form of even a feline based creature. The pink tones of the water suggest a blood, combined with a simple line of the horizon they are not intrusive in regards to the central focus. The title ‘Wrecked’ looks at the idea of awakening from a night of drinking and general misadventure suffering the consequences and deciphering what had happened the evening previous evening.

On Thursday morning the postman posted a prominent package for Leslie: the old fiver had finally been delivered. So in fitting with Leslie’s creative practice when asked how he was intending to decorate the well-worn note:

‘Not sure yet.’

was an appropriate response. Like his studio application techniques where he cements on layers of paints then scrapes them off to imply rather than dictate a clear vision we will have to wait and see what emerges on the paper money base.

Nigel Leslie a true Liverpool talent and an old £5 note which will be immortalised for future generations when currency only exists in the electronic format.

http://www.nigelleslieart.com/

Artistic web

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Donation Station

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Donation Station is a sculptural installation proposal submitted to Dorset County Hospital. The intention of the Illustrate is to encourage organ donation and the chosen piece to be sited by the cardiology department in Dorchester.

 

Donation Station aims to locate a collection of concrete portable organ transplant refrigeration units within the cardiac courtyard. Each unit to feature a name panel being that of a celebrity or person who became famous medically because of an organ transplant procedure. Temporary over-size latex organs to be used for the private view for the installation opening and on occasions when the Hospital and the Cardiac Unit has a higher level of foot fall. The installation will encourage donation directly through the use of celebrity culture, indirectly by simply drawing attention to the need for organs to be donated.

The artist will work with a locally based firm within the Dorset region to create between nine and twenty-one internally re-enforced rough solid cement cast from the use of a portable refrigeration unit suitable for organ transportation. Each unit to measure around 50 x 30 and 50 cm in height, the exact size to be determined at a later date. A red dye to be used within the concrete mixing process to give them a sight pink tonal quality. The rough cement cast will give the units an artistic quality in terms of a raw edge suiting the subject of organ donation and the surgical operating process. The grid-like layout of the units looks to draw attention to the vast amounts of organs donations needed by the NHS on a daily basis. The grid structure to be laid out in three columns, the columns to depict the three people who die in need of an organ donation on a daily basis. The mathematical formation draws attention to the position of the process of donated organs are transported allowing for no error and perfection in timing matters.

Each Unit to show an external shape of the organ which it contains within its structure. The name of a celebrity or medically notable person to be etched onto a brass plaque attached to the front of the structure. The World Cup-winning footballer, George Best to be used against an organ of a liver representing the liver transplant operation which he undertook. In a similar manner, Lou Reed the American rock music legend could be represented. Medical milestones could be shown with a unit dedicated to Louis Wash Kansy the first man to receive a heart transplant. A second plaque to the back of the units would explain further details in regards to who is featured and the nature of the operation. There is also the potential for a unit to contain a brain the be transplanted, for the unit the be unnamed then the ethical considerations raised in more details on the rear plaque. Does the outcome result in the brain or body becoming the person in existence?

The over-size latex organs to be used for the private view for the installation and for occasions when the foot fall to the cardiac unit is higher. Each form to be made from individually moulded organs incorporation colour dyes which relate to the blood present during the operation procedures. Potentially each piece could be filled with water on a base level so as they were unlikely to be affected by environmental conditions such as wind. As they would be hollow internally they would be relatively easy to store in an internal facility. The option of the latex organs to be taken to various events to increase levels of those giving permission for the process has further potential.

Engagement with the installation and the potential to increase the numbers of organ donation works on varies levels. The latex forms have a strong visual impact which would draw attention to the art forms created which would be reflected through the media reaching the public on a greater scale. The dramatic effect of the rubber organs would draw further attention to the art form when used at busy footfall periods. The concrete units to create interest from the platform of the many windows present around the courtyard. The installation can then be engaged with on a secondary level, the plates can be read and the procedures identified with on a higher level. In today celebrity-obsessed culture should lead to greater participation in the organ donation process. The potential to invite debate over the identity of an individual if this procedure was to occur is immense.

The Donation Station is an innovative installation which will engage on an emotional, cultural and ethical level. We identify with lives which could be saved through the process, our passions for the celebrity-obsessed culture of the twenty-first century Britain, but equally to engage the debate over the ethics of the ultimate organ transplant: the brain.

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Virginia Woolf and the Hours

Hours

The Hours

Three Women, One day.

Michael Cunningham’ novel, The Hours and the movie version, Directed by Stephen Daldry, gives a very accurate portrayal of Virginia Woolf beginning with her final act: suicide. The narrative intertwines the lives of three women: Virginia Woolf, Laura Brown an unhappy housewife in 1950’s Loss Angeles and Clarissa Vaughan a bisexual woman living at the end of the twentieth century in New York City. In this, we explore mortality, social roles, lesbianism and artistic endeavour throughout both the novel and the film.

The prologue begins with Virginia Woolf walking, almost marching towards the River Ouse to ultimately drown herself. On her way she stops to pick up a large stone, admiring its form as she does so. She then proceeds to enter the water, the actual death scene in the film echoing the great painting Ophelia by John Everett Millais of the Pre Raphaelite Brotherhood. Virginia takes in every detail of everything around her until the life has gone from her. We then switch back to 1923 when she is not so unwell, a happier time, the day when she begins to write one of her most successful novels ‘Mrs Dalloway’. Throughout the day she adds details to the novel from events which occur. After the embrace with her sister, she decides that Mrs Dalloway will have been in love with another woman when she was younger. After observing a dying bird she decides that Mrs Dalloway will commit suicide over something very trivial, a domestic choir. She later changes her mind, lets the character live but replaces the act with the suicide of a soldier. After handling her servant, Nelly badly she decides that Mrs Dalloway will be remarkably good at handling servants and writes this into the dialogue. Her sister is in fact very good with servants and her presence in the novel provides a contrast to Virginia. The production also gives a strong insight into her mental health the penultimate climax of her narrative being her journey to the train station where Leonard her devoted husband finds her and takes her home to keep her from harm’s way.

Laura Brown is living in Los Angela’s in mid-twentieth Century America. In this she is living the American Dream, she has a beautiful house, a loving husband, a war hero, a son and is expecting a second baby. However, ultimately, she is deeply unhappy with her life and the domestic role which she has been handed. This is symbolised by the Cake which she bakes for her husbands Birthday: Although the cake is perfectly adequate she wants it to be a work of art to reflect how perfect she is at domestic life, so she throws it out and starts again. Later in the novel, she becomes enraged when Dan, her husband, spits slightly when he blows out the candles. Her neighbour, Kitty, presents a contrasting character to Laura. She is loud, glamorous and was very popular at High School, where she was more interested in reading. Kitty character introduces the theme of fertility to the hours, Woolf never having children herself. Laura and Kitty embrace in a similar way the sisters earlier in the novel. Laura’ activities link to Virginia Woolf through the reading of Mrs Dalloway, taking time to ensure she reads more of the works. Her narrative climax’ in a hotel room where she seriously contemplates committing suicide. Outside of the context of the book, she fails in an attempt to commit suicide in recovery she leaves her family and moves to Canada.

Clarissa Vaughan is a bisexual woman living at the end of the twentieth century in New York City. Her character embodies the character of Mrs Dalloway in the Woolf’ novel. Her close friend and former lover, Richard is in-fact the grown-up child of Laura Brown who she abandoned. He calls Clarissa ‘Mrs Dalloway’ or ‘Mrs D’ for short. Clarissa has some doubts over her domestic set up, she is living with Sally her lover, however, it is not an exciting relationship it is mundane. Clarissa is pre-occupied with morality throughout the novel, in glimpsing a movie star she ponders over when they have died they will live on through screenings of the film. The climax of Clarissa’ narrative is the suicide of Richard, in losing his battle with Aids he decides to jump from the window of his apartment saying good buy to Clarissa before the ultimate plunge. After Richards death Laura Brown, now an elderly lady comes to meet Clarissa in New York. Clarissa does not blame Laura for leaving her family, although she witnessed Richards torture from this act she shows understanding of her actions as a mother.

This Novel and film created over half a century after Virginia Woolf’ death explore her and the writings in the greatest artist sense. Many themes are embrace throughout the three different days of three different women. On a surface level through Clarissa we see how attitudes towards sexuality have changed, acceptance being shown through her rather unremarkable same-sex relationship.

However, the suicide of Richard shows how times have not changed since Virginia’s generation. Again we have a frustrated writer, unhappy with his work mental health problems brought on by Aids who takes his own life. Could Virginia Woolf been happy in a modern climate, would she have escaped her demon’s, or would the same fate be waiting? Who knows but we certainly have a stunning novel and film which is a tribute to the Virginia Woolf we have presented here.

Alison Little