Two days ago, I became keenly aware of how my gestures involved in shaping wire armatures developed a rhythm. It’s different but similar to my process of finger-looping twine. It reminded me of writings by a French feminist philosopher I once studied for an art history seminar.
In The Laugh of the Medusa, Helene Cixous challenges women to embrace the body as the source of jouissance (joy) and wellspring of creativity. Trust the voice, trust the impulse, no matter where it comes from … mysterious or concrete, she says.
Her words continue to resonate for me as a visual artist: If she is a whole, it’s a whole composed of parts that are wholes, not simple partial objects but a moving, limitlessly changing ensemble, a cosmos tirelessly traversed by Eros …