Falling Woman III
Roland Barthes ‘S/Z’
“Re-reading draws the text out of its internal chronology and recaptures a mythic time”.
The ‘Falling Women Series’ borrows from stances of slain men in Renaissance battle scenes. The Renaissance, defined by a revival of classical ideals and the rise of humanism, represents a shift in ways of thinking. By drawing from poses of this era, the women have been forcibly inserted into the narrative, and removed again. The dramatic forms were carved from malleable wax, and cast into bronze, frozen in motion. They are solidified as ornamental objects, having been dipped into the historical narrative. This process mirrors the echoing nature of mythology.
Myths have long been creatively applied to understand the world. They are unique in that they exist as an amalgamation of narratives; they reverberate themselves. They hold structure, despite their ability be told over and over, in a multitude of ways. In contrast, the way information is absorbed today is a constant stream of new and attention-diverting scenarios.
In an ‘attention-economy’, gratification is strived for as appeasement against things out of our control. To make sense of the disorder, narratology suggests the theoretical “end” is important.
In the myth of the Falling Women, the binary of beginning and end is no longer relevant; there is no chronology. These women can be installed in any order, changing the direction of the fall, but the scenario remains the same; a continuous cascade. We are dropped into the centre of a story, a messy middle which cannot be deciphered, and will never have a conclusion. I invite the viewer to examine how the lack of order changes the perceived meaning. The women exist in a state of flux; physically, narratively, and in their cultural context.
Roland Barthes ‘S/Z’
“Re-reading draws the text out of its internal chronology and recaptures a mythic time”.
The ‘Falling Women Series’ borrows from stances of slain men in Renaissance battle scenes. The Renaissance, defined by a revival of classical ideals and the rise of humanism, represents a shift in ways of thinking. By drawing from poses of this era, the women have been forcibly inserted into the narrative, and removed again. The dramatic forms were carved from malleable wax, and cast into bronze, frozen in motion. They are solidified as ornamental objects, having been dipped into the historical narrative. This process mirrors the echoing nature of mythology.
Myths have long been creatively applied to understand the world. They are unique in that they exist as an amalgamation of narratives; they reverberate themselves. They hold structure, despite their ability be told over and over, in a multitude of ways. In contrast, the way information is absorbed today is a constant stream of new and attention-diverting scenarios.
In an ‘attention-economy’, gratification is strived for as appeasement against things out of our control. To make sense of the disorder, narratology suggests the theoretical “end” is important.
In the myth of the Falling Women, the binary of beginning and end is no longer relevant; there is no chronology. These women can be installed in any order, changing the direction of the fall, but the scenario remains the same; a continuous cascade. We are dropped into the centre of a story, a messy middle which cannot be deciphered, and will never have a conclusion. I invite the viewer to examine how the lack of order changes the perceived meaning. The women exist in a state of flux; physically, narratively, and in their cultural context.
Roland Barthes ‘S/Z’
“Re-reading draws the text out of its internal chronology and recaptures a mythic time”.
The ‘Falling Women Series’ borrows from stances of slain men in Renaissance battle scenes. The Renaissance, defined by a revival of classical ideals and the rise of humanism, represents a shift in ways of thinking. By drawing from poses of this era, the women have been forcibly inserted into the narrative, and removed again. The dramatic forms were carved from malleable wax, and cast into bronze, frozen in motion. They are solidified as ornamental objects, having been dipped into the historical narrative. This process mirrors the echoing nature of mythology.
Myths have long been creatively applied to understand the world. They are unique in that they exist as an amalgamation of narratives; they reverberate themselves. They hold structure, despite their ability be told over and over, in a multitude of ways. In contrast, the way information is absorbed today is a constant stream of new and attention-diverting scenarios.
In an ‘attention-economy’, gratification is strived for as appeasement against things out of our control. To make sense of the disorder, narratology suggests the theoretical “end” is important.
In the myth of the Falling Women, the binary of beginning and end is no longer relevant; there is no chronology. These women can be installed in any order, changing the direction of the fall, but the scenario remains the same; a continuous cascade. We are dropped into the centre of a story, a messy middle which cannot be deciphered, and will never have a conclusion. I invite the viewer to examine how the lack of order changes the perceived meaning. The women exist in a state of flux; physically, narratively, and in their cultural context.
Woman measures: 6 x 2.3 x 3cm
Made to order: Please note, this piece is made to order. Please allow 2-4 weeks for creation and delivery. Please reach out to confirm the dimensions of the piece you wish to install her on, so the bolt can be cut to size.
This women has been cast into bronze. Whilst she has been treated with a sealant to stop oxidisation, the colouration and patina may change over time from handling and environmental factors.