Toddler Copper

toddler copper image copy

Toddler Copper is the latest digital artwork from Liverpool based artist Alison Little.

February, in the UK, has seen public confidence in the Police Force hit an all-time low. Last week, the Police watchdog warned that faith in the Force is being damaged by rumbled investigations and that less serious crime is simply not being reported.

Trends of victims of domestic abuse and sexual assault no longer supporting the prosecution continue. In England and Wales, an arrest was made in only 7.8% of recorded crime, down from 9.1% the previous year. On Merseyside alone, every household will be expected to pay £10 addition costs for Policing for an agency which has been proved to be ineffective on every level.

Toddler Copper, the print, highlights a lack of confidence in the Police Force. We see a toddler, effectively playing ‘Dress-up’ as a Policewoman. We see a child in an adult role, we see a presentation of an Officer being unable to deal with crime or confrontation behaviour on any kind of required level. We see a child who is mentally and physically weak. We see a representation of a Police Force which serves as an insult to victims of crime.

Alison works, through, visual arts, print media and across the spectrum of the creative industries looks to push for a Police Force which will identify with there failings and improve standards to that of fit to be investigating crime, sexual predator cases in particular.

Works which can actively push for reform…………………………

A Void

womb

A Void

In this, I have agreed to what was termed ‘A life modelling process’ for an artist seeking volunteers for a project he is working on. I stand before him in my dressing gown, nude underneath and wondering what he wants me to do, he tells me:

‘Don’t worry, I have done this lots of times before.’

From this, I am somewhat reassured, but still, air a little caution.

‘I just need you to lie down so I can paint you with latex.’

In this he shows me the latex, it’s white and when he paints a little of my arm it feels cold but pleasant on my form. I agree to the process and he helps me untie my dressing gown belt, although naked I feel comfortable in front of him, he has put me at ease.

I lie down under his direction and move into the position he needs me to be in. He starts painting around my neck area, slowly but surely working his way down. He is careful but professional as he covers my breasts, making sure he only touches my nipples with the horse hair bristles of the paint brush.

Working his way further down my body he comes to the groin area. I become nervous again, worrying about what he is about to do.

‘Relax, I have done this many times before.’

I let my muscles fall low, then with warm air, he blows gently inside myself. From this, like magic, I open right up like a great white shark about to launch an attack.

‘That’s right, good, you’re doing well.’

He directs, then he moves onto his back and slides his head and upper body inside my womb. From this, he begins to paint, carefully and professionally, coating the walls of my womb and ovaries in latex. When he has finished he edges out carefully and puts each hand delicately on the inside of my legs. Then without touching me with his lips he sucks air from the inside of myself. I return to my normal size, at ease with everything going on, amazed at what has been performed by this genius.

From this, he works down my legs in a similar motion. He then turns me over to work on my back and lower body. So relaxed with the brush motion I am almost asleep when he finishes:

‘We just need to wait for it to dry.’

He whispers, in this, he picks up an old fashioned guitar and begins to sing folk songs.

He wakes me up to tell me that it’s time to peel the latex off. I stand up for him and he begins stretching off the suited coating, carefully going over my breasts. After my ribs he stops and places a hand on each side of myself, then he kisses my forehead, gently and childlike in motion. As I smile he gets back to action, working the form off down to my lower body.

After a gentle shake, my womb falls out. Before me, I see its squashed in structure, perfect on the inner coating, but de-revelled on the outer. My ovaries flop out almost deformed and entwined, messy and forlorn. Ahead of me, I see the babies, I will never give birth to and the children I will never raise. The bedtime stories I will never read, the play parks I will never go to, the football matches I will never go to and the school plays I will never attend. In this he finishes the removal process, then he shakes out the body-like creation. He clips it onto a line, in this, it stands tall and strong, an independent being, strong, singular, but of great value.

Alison Little

A Void is a flash Fiction works from Alison Little. This piece was first performed in the Hornby Rooms, Central Library, Liverpool for International Women’s Day in 2018. The subsequent year it read for an event marking the same celebrations held during the 209 Women exhibition marking the centenary of women being able to vote in the UK (Although restricted to those over 30 and with property).

The illustration was also created by Alison Little using a bamboo dip stick pen and Indian ink. It feature a close up of a womb and creates an impression of scarring. She is looking to make a sculptural piece from latex later in 2020 to represent the works.

More about 209 Women exhibition, Open Eye Gallery

Convict Blanket

Blanket 090

Convict blanket is the latest art activism works from concept-based arts practitioner, Alison Little. A sensation to shock and stand against rape, rape culture and the authorities put in place to tackle sex crime within our society.

Convict blanket confronts us with the homage style of using material available, in this case, the humble scratch provoking woollen coverings of the bed. The use of blanket stitch and appliqué reminiscent of techniques used in prison protests where all resources must be reclaimed from the sparse provisions available when incarcerated. The blanket is floor-based, slightly raised to one side. The text and images locate with the nearest edge in which they are placed, allowing the viewer to read the statements as their paths encircle the form. The use of hand-embroidered text reminiscent of the marker pen on corrugated card portrayals commonplace throughout activism. Texts vary in scale, case and font in regards to the emphasis placed on the statement which is being presented. Large bold statements often present definitive assertions, small joined-up style wording is often examples of dialogue and opinions of the minority. The black text looks to address how to reduce the numbers of sex attacks by convicting more rapists. In opposition, the red highlights issues within society and the authorities put in place to tackle sex crime which are failing at every given opportunity. Although male rape is equally as relevant, this identifies with female rape which is statistically committed in greater numbers.

The first of the black text presents a printed abbreviation, ‘HMP‘. This is commonplace within the UK, ‘Her Majesties Prisons’ being the full term and the title for units of incarceration. The larger appliqué fonts present ‘Convict‘ and ‘Rapist‘, indicating an intention for more sex offenders to be serving custodial sentences. This is emphasized in greater detail by a well-defined corner based statement:

We must press for the conviction of more rapists.’

A powerful sentence, stating the motivation behind the activism, the use of the second person to engage the viewer with the protest.

Post Traumatic Stress Disorder (PTSD), which is common among rape survivors is raised within smaller statements. Dressing down as a result of being raped is proposed, backed up by an image of a ‘Hide under’ hoodie. Larger texts draw attention to statistics:

‘1 in 10 rapes are reported to the Police, of these only 1 in 10 lead to a conviction.’

Due to current changes within the Crown Prosecution Service (CPS) this figure is currently much lower. The statistic highlights how rape is one of the most under-reported crimes. The statement is reinforced by the pie chart indicating that only 1% of rapes committed lead to a conviction.

Patriarchy is addressed, male supremacy being a factor in why rape is not being tackled effectively. Police apathy over sexual assault cases is presented. Demands towards the recruitment of ‘Strong, capable women,’ are made, requesting women who will prioritise rape over trivia to be brought into the Police Force. Drawing attention to the vulnerability of the rape survivor, showing how there needs should be prioritized. The black statements concluding with the most vital statement of them all, the rapist being ‘100%‘ to blame for rape.

The red text looks to highlight why our society is failing to reduce numbers in terms of sexual assault and punishing more sex offenders through the penal system. The large appliqué terms read ‘Rape Culture’ and ‘Victim Blaming’. Across the blanket, we have statements which highlight examples of victim-blaming, itself a factor within rape culture. Projections of low morals, promiscuous clothing, the rape survivor being presented as ‘The Whore’ and extreme example of ‘Slut-shaming’ are identified. Misconceptions around PTSD are given, many are still not aware that this condition is commonplace with rape survivors. The second delusion of rape being unusual is also stated. Narcotic and alcohol use are presented, suggestions that mild cannabis inhalation could result in hallucinations an example of ignorance. Again, blaming the victim through alcohol consumption, the concept of consenting to sex being overlooked.

Patriarchy being stated, showing the focus of the law to be on protecting men from being falsely accused of rape. How the Police Force is male-dominated, the notion of many of these ‘Men’ having little intentions of acting against rape, in this, recruiting weak, feeble women to actively fail rape survivors. This is developed by drawing attention to the actions of many Police Women, their sole contribution to a rape enquiry to be establishing what happens when they get dressed up, thus providing the opportunity for them to reflect on their superior beauty. The trivial nature of operatives, examples of attire being copied being prioritised as opposed to communicating the nature of the sex attack. This is matched by their counterparts, Policemen, many are only interested in their prowess, continually falsifying reports on how the rape survivor is attracted to themselves. Looking at the attitudes of Police personnel, those who feel that they are not expected to do anything in a rape case, the extremities being the role of the rape victim to protect and shelter vulnerable officers.

Ultimately, the saddest statement of all:

‘It was my fault I was rapped.’

The victims who blame themselves, a factor in why so many crimes are not reported to the authorities.

‘Convict Blanket’, innovative works, at the helm within the spectrum of art activism. Artwork which can challenge misconceptions around rape, concepts which can address issues in society and confront the authorities put in place to act against rape. Ultimately, ‘Convict Blanket’ will lead to the conviction of more rapists, reducing rape crime and proposes a safer society.

Convict Blanket will be exhibited from spring 2020.

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GHB

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Earlier in the week, we saw the conviction of serial rapist Reynhard Sinaga for a string of sex offences against 48 men, it is believed there were many more attacks. He drugged and filmed his victims during the assaults at his Manchester city-centre flat. His date rape drug of choice: GHB, how more than ever, men as well as women need to know the truth about this psychoactive substance.

GHB comes in several forms: a liquid, a powder, a pill or less commonly as a capsule. It is odourless, colourless and when added to a drink may only present a slightly salty taste. GHB is sometimes taken consensually, but equally a rapists drug of choice.

There are many effects caused by taking GHB:

Lowering of inhibitions

Difficulty concentrating or speaking

Loss of balance

Blurred vision

Memory loss

Confusion and disorientation

Paranoia

Nausea

Euphoria

Enhanced libido

Unconsciousness

Comma

Death

Sinaga left many of his victims in an almost comma-like state, the drug can result in death. Although traces of most date rape drugs are often present for up to 72 hours, GHB will have left the system within 12.

Ways to ensure you stay safe on a night out:

Be aware there can be predators present at any time.

GHB testing strips can be purchased

Stick with friends

Watch drinks at all times

Cover your drink with a hand

Don’t accept drinks from strangers

Take drinks with you into toilets

Consider bottled beverages as opposed to a draft choice

Ask the staff for help if you feel dizzy or strange

Plan how you are going to get home in advance

Talk to staff if you have lost friend, money or mobile phone.

Take taxi’s from designated safe areas if present

What to do if you suspect you have been a victim of date rape

Seek medical attention straight away, avoid showering or changing clothes.

Contact NHS

Contact Police (UK)

Greater Manchester Police said anyone who believes they might have been attacked by Sinaga can report information online or call its police line on 0800 092 0410 from inside the UK or 0207 158 0124 from abroad.

Remember

In a sex attack to predator is to blame, it is not the fault of the victim.

The majority of Sinaga’ victims were heterosexual men, he sort greater pleasure through preying on this group.

Quotes from Catherine MacKinnon

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Catherine MacKinnon, a mother of second-wave feminism, led the US movement alongside greats such as Andrea Dworkin and Gloria Steinem. Primarily, a legal scholar, lecturing at institutions such as Harvard. Specialising in sexual harassment, pornography and prostitution. We take a look at some quotes from her acclaimed 1980’s publication, Feminism Unmodified: Discourses on life and law.

”One of the advantages of male supremacy, along with money and speech and education and respectability, is sexual access to women, of which pornography is one form.”

”Marriage is women’s destiny, she defends and seeks to extend. Now, three out of five marriages end in divorce after about five years, leaving the woman with approximately one child, approximately no income, and a standard of living drastically below that of her former husband.”

”A recent study shows that the only difference between hookers and other women with similar class backgrounds is that prostitutes earn twice as much.”

”We resent being blamed for what men do to us, being told we provoked it when we are raped or sexually harassed, living in constant fear.”

”Men see rape ass intercourse: feminists say much intercourse is rape.”

”Sex blindness”

”The rule said that if Native American women married outside the tribe, the children of that union were not full tribe members: if Native American men married out, there were no such consequences.”

”Neo-Victorian prudery’

”What is not considered to be a hierarchy is women and men – men on top and women on the bottom.”

”Reproductive freedom”

”The problem is, the State has never in fact protected women’s dignity or bodily integrity.’

”Most rapes are intra-racial and committed by men the women know.”

”The purported plot of Deep Throat (Linda Lovelace) is premised upon rearranging the woman by putting a clitoris in her throat, so she gets sexual pleasure out of giving oral sex to men.”

”A critique of pornography is to feminism what defence  is to male supremacy.”


”This is what it means when feminists say that maleness is a form of power and femaleness is a form of powerlessness.”

”Women’s desire to be fucked by men is equal to men’s desire to fuck women.”

 

Quite simply, a great feminist icon here to inspire and move humanity forward.

 

 

Catherine MacKinnon

Feminist Unmodified

Gloria Steinem

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The iconic feminist, the writer, the political activist and the author of her later biography, ‘My Life on the Road’.

As a girl, she traveled across the US between Ohio and Florida for most of her informative years. The trailor upbringing came to an end when her parents divorced, she went to live and care for her depression troubled mother, now attending school regularly from
the first time at the age of eleven.

After college she was awarded a fellowship and spent two years in India. During her travels she opted for a termination of pregnancy in London ten years before they were legal.

From this she became a journalism, a groundbreaking article being ‘A Bunny’s Tale’, where she went undercover as a playboy bunny to get the dirt on Hugh Hefner and the Playboy empire. Co-founding New York Magazine and Ms Magazine, which she later became an editor for several decades later. From the late sixties she rubbed shoulders with greats like Betty Friedan as they marched for the liberation of women.

Now, at the age of eighty-five, she is technically in retirement. However, social activism work is not something you retire from, she is still penning the writings which inspire women Globally.

Her latest biography, ‘My Life on the Road’ contains so many awe-inspiring quotes, we give only a few to lay a foundation for Steinemism and the future:

Dick and Jane limitations that school put on girls.’

From her travels in India:

High caste women were sexually restricted and women at the bottom were sexually exploited.’

‘Most of us, I love graduations. They are individual and communal, an end and a beginning, more permanent than weddings, more inclusive than religions, and possibly the most moving ceremonies on earth.’

‘Needing approval is a female cultural disease, and often a sign of doing the wrong thing.’

‘I was angry about the human talent that was lost just because it was born into a female body, and the mediocrity that was awarded because it was born into a male one.’

‘A journey -whether it’s to the corner grocery or through life-is supposed to have a beginning, middle and end, right? Well the road is not like that at all. It’s the very illogical and the juxtaposed differences of the road-combined with our search for meaning-that make travel so addictive.

‘My Life on the Road’ is available from Amazon

More about Gloria Steinem

 

 

Stalking>Victim Blaming>Police

Stalker

Earlier this week the Police and their treatment of stalking cases hit the national news. This extract is from the fictional novel Casual Nexus in which we see the accumulation the pressures of the main character Sal being constantly stalked.

 

The art school was open to the public for the two weeks of the degree show. The busiest evening had been the opening last Friday, after that there was only the odd person wandering around. Many were potential students looking at courses or former students looking at what was going on in the tower of creativity by the central ring road. Quite a few people who had known Sal from the bars where she had worked had been there for the opening night and a few of her neighbours had popped in to look around on their way back from the town over the last few days. As the second coat of the prescribed ‘Pink’ dries, she cleans the spray gun and ensures the nozzle runs clear, she decides to go and ensure her exhibition space is tidy.

In walking into the studio, come, make-shift exhibition venue she encounters an individual she is becoming weary of beyond reason. Jumping out at her, the figure, as always dressed in the anonymity of greying black, lurching forward. Head held forth, arching off the helm of his inclined shoulders. Vision led, his upper body runs from Sal’ face, down through her shoulders, around her breasts. Covering her torso, through her baggy denim-clad legs then slowly back up the same route to her face.

Sal begins to shrink into herself, everything is getting too much for her; frustrations over her artwork, ongoing arguments with Tex, the approaching one-year milestone of the attack in Maine, and now the avid attentions of her stalker. Too exhausted to explode in combustion of stress factors, emotionally she felt herself crumble from head to toe. Herself, becoming simply remnants, grain pilled into a human size knoll.

The course leader had placed himself only feet behind Sal, he had come through when he had heard a whisper about the stalker. Recognising the character instantly from the glimpse he got of him from the office window earlier in the year. On encountering the stalker he had tried to engage him in some kind of conversation, but as usual, the grey/black adorned personage was unable to vocalise any form of structured sentences. His next move had been to talk to Kelly and Claire, they confirmed he was Sal’ stalker, then he checked to see if he had been untoward in regards to them:

‘No, he’s just like that with Sal.’

replied Kelly, Claire added:

‘Yes, it’s the way he looks at her, it’s obsessive. No, he isn’t interested in anyone else, just Sal.’

Progressing, to see if any of the other girls could be of benefit. Be-Be was almost in tears with fear, running into the ground, draining down her body, a wet blanket soaking on the ground. Digressing, he had turned his head away in disgust as Kate began the rhetoric of blaming Sal:

‘Her fault…he could start following me…..things like this are always happening to her….’

As standard, there was no logic to her chain of thoughts, a stream of resentment filled consciousness following from self-obsession embedded in her thoughts. Next, he chose to wait for Sal to make an appearance to gauge how bad this situation was through his reaction to Sal.

As Sal stood there, body crumbling the course leader stepped in:

‘Sal can you come through to the office please, I have some paperwork to go through..’

She needed no further encouragement, escape from the status quo, to get away from the stalker, to remove herself from everything and everyone. Strapping her crumbling emotions together, she managed to walk through to the Office and began to answer questions over how avidly he had been following her around.

In the office, Sal sits on one of the staff swivel chairs. Although this would normally feel like a luxury to a student, her mood could not stretch to appreciating the soft upholstery of the rotary form. Head looked down, she was not fully aware of the dialogue she was expressing in response to the details being requested. Fatigue has taken over, months of weariness accumulated, the stalkers appearance was the pinnacle of all her impediments. His appearance was the devil’s version of James and the Giant Peach landing on the Empire State Building. Sal wished she was the same age as James again, that everything that was happening around her was in a book she was reading. If only she could return to her adolescence, tucked up between pure white sheets with her brother Jack safely away on camp, reading the words of Dahl and engrossed in the images of Blake.

The course leader began to probe all the information he could out of Sal, gently but confidently easing out the information compressed in her memory. He had seemed to have started following her around last summer before she had gone away to the States, but it had become more obvious when she returned and he had found her new digs. Lingering about waiting for her to set foot outside the front door most days, except Tuesdays. This appeared to be because the rubbish was collected on this day and it looked like the bin men battered him as there was a persistent void in his presence on this day. Sal talked amiably about the bin men and had stated how great they were. It amazed the course leader how many people Sal knew in this city. Most students had no idea who their refuge collectors were, Sal was on conversational terms with the crew.

Sal held back her tears as she poured out her annoyances over the stalker, his repeated appearance, ‘You again!’ rapping on her brain. After the flow of distress, she became quiet and still, almost childlike as she composed herself. A peg doll, cut short and pressed into the upholstery of the desk chair.

Sal is oblivious to what is happening around her as the plastics lecturer swerves into the office carrying several off-cuts of acrylic;

‘Who is that guy in grey wandering around?’

She inquires brashly as she enters, the Course leader whispers towards her:

‘He’s the stalker that has been following Sal around.’

Sal’ mind is occupied by a place far outside the office, the city or perhaps even the Universe. She hadn’t noticed the presence of the plastics lecturer, she had not heard the question spoken.

Sal’ head and hearing ranges returned to that of the Art School Office as the plastics lecturer slams down the sheets of perspex. White molecules of dust from the workshop shoot into the air and begin the linger before the inevitable descent:

‘Oh great, now he’s going to start following me around!’

she screeches in wretchedness. Looking towards Sal, holding her fully accountable for his presence. The resentment she felt towards this student, running through the glare she directed down towards the distressed girl. The course leader and Sal looked directly back towards her, their gut reaction of utter disgust penetrating through the stale air of the internal office space. Not only did she have to cope with the continual presence of the stalker, but Sal was also now footing the blame for his potential to stalk others. Not only was it improper to blame Sal, but it was also equally invalid. The stalker was clearly fixated with Sal, he had no eyes or thoughts towards any of the other women, she was his sole focus, his desire, his obsession.

The Plastics lecturer looked back at the two faces of anguish looking directly into the aura of self-obsession which encased her white machine coat. Her next move was to leave, neither the Course Leader or Sal were prepared to tolerate any more of the extremities of her vileness. After shutting the door and walking back along the corridor she began to rant isolated mutterings. A torrent of thought about how Sal should never have been given a place, ‘Her fault’ and ‘Me’ focussed rhetoric.

Her thoughts fell into chimes with Kate’s, ‘Me’ mutterings resonating around the studio. Her eyes inquired towards the fear-soaked form of Be-Be. Someone she could use, she began to debate returning to the office, insisted that Be-Be’s fear was due to Sal putting her in danger from the stalker, then she could try and push the vulnerability of the sheltered fool draining in front of her eyes. She remembers the anguish on the faces in the office, she decides against any more confrontation and makes her way back to the workshop.

In the Office Sal and the course, leader looked at each other. Both were speechless in regards to the levels of self-orientation paraded by the plastics lecturer through the encounter. The course leader began to think on his feet, he told Sal he would phone security to escort him off the premises. In this directing Sal to stay in the office until he had gone. His next thoughts were to see how he could stop him for following Sal around the rest of the time. The Police was an option, ‘Stalking’ had recently been made an offence, perhaps the Officers of the Law would be able to do something. Relief ran through Sal’ body, he had made her feel safe again.

 

It emmergies throughout the novel that Kate is employed by the Police. Her character represents self obsession, narcissism and, most promonently, victim blaming culture within the Police Force.

A second character is reveal to be working for the Police: Be-Be. She highlights how extremely weak and feeble the women the authories recruit can be through their actions. We are presented with a girl who would never be capable of doing anything to protect anyone or anything being assigned a public protection role.

The plastics lecturer highlights the failing of Higher Education Institutes to take positive actions in regards to dealing with sexual predators.

Casual Nexus is looking to be published later in 2019.

 

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