Posted on | April 8, 2013 | No Comments
As in previous chapters of her essay, A Room of One’s Own, Virginia Wolfe continues with the theme of interruption, which is central to both her story and Bronwyn Wallace’s poem, A Simple Poem for Virginia Wolfe. The style of writing Wolfe uses in her essay is known as stream-of-consciousness, where the flow of the author’s narration resembles the thought process and the tangents that ensue. This style of narration maybe difficult to follow, however it provides a more dynamic and authentic experience of the characters mind as she wanders from place to place, encountering various idea’s and insights etc.
Virginia Wolfe discusses the need for women writers to have money and a room of one’s own to write, letting the creative process engage without interruption for a better writing situation. To eliminate the distractions often implicated with women’s domestic roles, Wolfe suggests that women need the same advantages as men when focusing on scholarly pursuits. In Chapter IV of her article, Wolfe’s main character comes across another female writer who she finds fault with, perhaps in regards to distraction; “She is like a person striking a match that will not light.” She predicts that given one hundred years these issues may be eliminated with women writers.
Wallace’s poem, written sixty years later, is basically responding to Wolfe’s prediction. She “introduces” herself to Wolfe as a fellow women writer, “you know the kind…//in our own rooms//on our own time.” The poem is meant to be simple and possibly reflect a new age of female writers who are independent, free from the distractions of the home etc. However, in keeping with Virginia Wolfe’s narrative style, Wallace incorporates interruptions into her poetry illustrating that though she has a room of her own, she is indeed still distracted by her domestic roles.
Wolfe’s critique of Mary Carmichael is somewhat harsh. She even pre-assumes that Carmichael’s book will either be good or bad, rather than acknowledging a possible complex interpretation, “…she has a pen in her hand or a pickaxe.” Perhaps the strictness with how she measures a women’s writing is something else Wallace is responding to. After all, in her writing, there is a slight apologetic tone that surfaces whenever she says “This started out as a simple poem,” as if to say, sorry, I can’t… And when she says, “A straightforward poem…//not something tangled in//domestic life…” it seems as if she is apologizing for her domestic life as a female; somehow letting Wolfe down. She demonstrates how “vulnerable” her mind is to the domestic by suggesting that even using the word “egg” as a metaphor invokes thoughts of cleaning dirty pots and pans in the kitchen. Wallace continues to include examples of distractions often with bitterness towards Wolfe’s ideal. She lists various ironic events that occur in day to day life as a mother and caring friend, events that seem bound to happen for the purpose of making life harder for no good reason. She questions the lives of past female writers, attempting to peer into their domestic sphere, wondering whether or not they had husbands and children to take care of as well. She admits that her poem is somewhat of a confessional, though it is unintended. Wallace is obviously trying to distance herself from the style of writing that Wolfe criticizes Charlotte Bronte for, wherein Bronte shows much of own emotional leanings through her heroine, Jane Eyre, instead of “…separating the words//from the li[fe] they come from.”
In Chapter VI of A Room of One’s Own, Wolfe writes “It is fatal for anyone who writes to think of their sex.” Wallace continuously writes about the state of womanhood and her friendship with women apologetically and yet because she writes with vigor and unrestraint, she contradicts herself, coming across as unapologetic, or at least in writing style. She writes as if the words are pouring out of her emotionally, something that Wolfe again criticizes when she says “we expect great minds and great art to rise above their circumstances.” Wallace does not rise above her circumstances to write her simple poem, she dives into her circumstances, unveiling them. She goes on to suggest why she wrote a poem about her “ordinary” life, the distractions she faces are not distractions at all but the reason for her writing. Her children and her friends inspire her and they are very much a part of her daily domestic sphere. She is passionate about her life, the events and people that make it whole. She is a woman with a woman’s thoughts, emotions and roles and though she wanted to write something detached from her domestic life for Virginia Wolfe she finds she cannot. Yet she does pay tribute to Wolfe by exemplifying Wolfe’s own stream-of-consciousness and “distracted writing” styles to make important points.
It is clear that Wallace wants to emphasize that simplicity is a luxury, and therefore agrees with Virginia Wolfe in that regard, however, this luxury is not something women could afford one hundred years later as Wolfe predicted. Women’s lives are still complex as Wallace seeks to illustrate. Her poem is a tribute Virginia Wolfe’s theory and style; however it is also an expression of self acceptance, dealing with the distractions that weigh her down as a mother, friend, wife etc. Her poem also reads like a list, a list for Virginia Wolfe on the little to big distractions women face in a modern, fast-paced world, with a career, family, social life etc.
Posted on | February 12, 2013 | No Comments
Posted on | January 21, 2013 | No Comments
I enjoyed several of the references to the movie, Space Odyssey: 2001 made in Walle. Due to its use in Space Odyssey, Richard Strauses, Sprach Zarathustra, is memetically sealed to the idea of the beginnings of mankind through a change of consciousness and discovery. These themes are central to Walle in that there is essentially a second human history initiated on earth due to a rediscovery of ideas and changes in thought process. For example, when Walle removes the screen from in front of Mary’s face, we see her instantly react to her surroundings as if discovering them for the first time, “I didn’t know we had a pool!” She essentially gains a new form of consciousness and breaks from her 2-dimensional reality to a more physical one. This can also be witnessed when the captain of the Axiom stands on two feet for the first time. Strauss’ meme aids the viewer as it signifies the captain “evolving” and essentially beginning a new human race. The idea of breaking from old consciousness is also supported by the navigation system’s “eye camera” meme that offers a struggle against the use of machines to support human life. This meme is highly recognized because it is used in many popular science fiction novels such as George Orwell’s, 1984 and is another reference to Space Odessey. In Walle, the captain makes a choice that alters the course of humankind by “breaking free” from machine control and in doing so begins a new wave of thinking and doing.
Posted on | January 11, 2013 | No Comments
In Richard Dawkins chapter on memetics in his book, The Selfish Gene, he describes the speed at which memetics evolve as opposed to genes. It is interesting when considering not only how fast cultures can evolve through the transmission of ideas, but how this is something that can be controlled by anyone, unlike the manipulation of genes which tend to be controlled by natural and sexual selection and now by geneticists. Not only do memes evolve at a faster rate than genes, the rate at which they have recently evolved has increased exponentially due to the exchange of information, images and ideas on the internet. The transmission of information is not only fast but ample which provides abundant opportunity for reproduction, imitation, the growth of ideas and therefore cultural evolution. The internet is in a sense a massive abiotic host that is highly available to our biotic (brains) host. Not only does it appeal to our minds in our quest for knowledge, it serves our need to find the latest bits of information regarding trends and pop culture. People enjoy keeping up with pop culture because though it is often fleeting it is significant to social culture and the further exchange and transmission of ideas. Memes transmitted through the internet, such as videos and images may not always last long but they tend to reproduce quite quickly. For example, when one person posts a popular cat video , people mimic this meme by posting variations of that cat video. Memes like ideas that exist in articles, books etc. tend to last longer as they have more value as information that can aids in intellectual growth; this integrity allows for fidelity of and the survival of the meme. Often, visual culture is associated with pop culture because our aesthetic values change with trend. Every season everything from our walls to our clothes to the stylization of advertisements, movies etc. is affected by new aesthetics. People expect this change, adhere to it and propagate it. It is possibly one of the fastest replicating memetic pools of all ideas as it is integral to the evolution of our environment and as soon as we have the ability to change our environments to reflect “evolved” aesthetics we often do.
Posted on | November 17, 2012 | No Comments
Posted on | November 7, 2012 | No Comments
I’ve been offered a large studio space/store front close to chinook shopping centre for a very decent monthly lease. The space could easily fit 5-6 artists/designers or maybe more. If you are interested in renting a studio space for super cheap in a clean and really fantastic location, please contact me at firstname.lastname@example.org. This is open to artists and designers of most mediums, but probably wont suit heavy duty woodworking/welding practices. The space also includes ample parking for potential customers and clients.
The space is just under 1400 square feet, ceilings are 8 feet, there are two bathrooms, three closed office spaces, hardwood floors, three large windows and parking. It’s located on the ground floor and has it’s own entrance off the parking lot. I’m interested in dividing the space into 200 – 300 square foot areas meaning the monthly rent would be approx 200.00 – 300.00 per artist. If you expect to be using alot of electricity the rent would be a little more as the operating costs are covered in the rent, however exaggerated energy usage will raise the rent. The operating costs cover the following: heat, electricity, insurance, janitorial, building taxes, water, garbage disposal, air conditioning in summer etc. Internet is additional, however I expect if we share wifi it shouldn’t be that much more. The building also houses an art auction business. There is a new large office building acroos the street and some industrial type businesses close by as well – 3 blocks east of macleod trail. Here is a photo of the interior:
Posted on | October 18, 2012 | No Comments
Go to http://Lionette.ca to see more photos!
Posted on | September 15, 2012 | No Comments
Posted on | September 10, 2012 | No Comments
I’ve been working on some digital collages for a series based on the the idea of women taking on the “sexy beast” dynamic often assigned to men in fairytales, folklore, myths etc. The artist statement can be read in the last post.
Posted on | September 6, 2012 | No Comments
My most recent couture collection is inspired by the original tale of Little Red Riding Hood. My latest art installation also borrows from fairytales with women and beasts, here is my artist statement:
I’m fascinated with the reoccurring association of women and animals in fairytales, poems and mythology, particularly woman and beasts. My attraction is inspired by the underlying sexual connotations of this dynamic like virginity, sexual desires and seduction. For instance, Little Red Riding Hood, is often associated with childhood innocence, however the original publication by Charles Perrault ends on a serious note that alludes to chastity versus the sexual predator. I am also influenced by Angela Carter’s novel, The Bloody Chamber, where the author describes her work as “extract[ing] the latent content from traditional stories” rather than being adult recreations.
Morals in fairytales are represented through a clever mixture of innocence and darkness, hiding sexuality in beasts and symbolisms like red hoods. Like Angela Carter, I am interested in the hidden sexuality of fairytales rather than the moral agenda. My work addresses the theme of woman versus beast and merges the woman and beast to reveal the sexual animal within the woman. Much like a fairytale, my work is clever and seemingly innocent, yet open to sexual interpretation.
I am creating three digital collages for three jacquard weavings.
I am using a Victorian aesthetic to represent an era of morality and suppression in to contrast female sexuality. My work will be displayed in a domestic context to emphasize the feminine and the human component rather than “the beast” to bring the sexual into a familiar realm versus a dark and dangerous morally-conscious realm.keep looking »