Illuminated Matrifocal is a life-size oil painting on canvas featuring a middle-aged woman gazing directly at the viewer, embodying confidence and subtle defiance. Boldly inscribed across the canvas is the word "INVISIBLE", with the prefix "IN" crossed out, leaving "VISIBLE" glowing in yellow. A similar glowing outline highlights a killer whale badge pinned on her chest, while drips trail from the luminous outlines, suggesting the words were inscribed with a finger into the wet paint. The woman appears in blurred, muted tones, except for glimpses of her face and chest, which are rendered in detail within the luminous outlines contrasting against the dark, empty background.
Through imagery and text, the work confronts the societal trope of invisibility often imposed on women over 50, a stereotype often rooted in ageist and patriarchal views. The life-size scale of the figure invites engagement, with her direct gaze fostering a sense of connection and challenge. The bold yellow outlines symbolise her inner resilience, demanding recognition and asserting her existence. The crossed-out prefix serves as a metaphor for societal neglect, while the inscribed text becomes a defiant statement of self-worth. The detail of the woman’s face inside the text underscores the theme of reclaiming visibility. The killer whale badge carries significant weight, as menopause is a shared experience between humans and five species of toothed whales. Menopausal killer whales are vital to their communities, using their wisdom and experience to guide and support others. Thus, the badge symbolises female strength, resilience, and wisdom, shifting visibility from physical attributes to intrinsic qualities.
The concept for this work emerged from my explorations in creative writing and concrete poetry. Initially, I envisioned a literal narrative, featuring the older woman before a fogged mirror, inscribing phrases like "Invisible?" and "In Your Face," along with a raised middle finger. However, I realised a symbolic approach would convey the message more powerfully. Omitting the middle finger allowed for subtler expressions of defiance, aligning better with my artistic vision. Although I considered including a letter outlining a narrative, I ultimately decided against it, as it made the work too literal.
Inspired by Griselda Pollock’s call for feminist intervention, the work reclaims space for aging women by challenging traditional narratives that render them unseen, instead celebrating their strength and autonomy. Feedback indicated my original proposal was too direct, prompting me to explore contextual works like Sally Rees' 2021 Crone, which embraces the figure of the crone as a symbol of wisdom and strength that comes with age. This resonated with my own interest in visibility, paralleling the strength and wisdom of matriarchal killer whales. I also draw from Jenny Holzer's 1994 Lustmord which pairs unsettling language with imagery to highlight the hidden experiences of gender violence. Similarly, the concept of aging and invisibility remains a hidden reality, particularly for men and younger women. Conversations with older women have further shaped my perspective, and it has been empowering to see their faces light up with strength and pride when I explain how and why they embody the qualities of a killer whale.
Despite my intentions, I feel the portrait fails to convey the vitality and inner strength I envisioned due to the blurring and overall dullness of the muted tones. However, creating the work taught me to blend traditional techniques with writing to address complex themes. As I continue to explore the human experience in my work, I plan to use writing techniques to enhance the conceptual depth of my art. To support this, I am compiling vocabulary words of interest in a Moleskine, drawing inspiration from Nick Cave's handwritten dictionary of words.
'lluminated Matrifocal challenges societal views of women over 50, celebrating their resilience, strength, and autonomy. Through text and symbolism, it invites reflection on aging and visibility, aiming to honour the wisdom and experience that comes with age and redefine the narrative often placed on women’s later years.
Rachel Wolfe
1 November 2024
REFERENCE LIST:
Devlin, Hannah. 2023. “Post-menopausal killer whales defend their sons from aggressors, study finds.” The Guardian. Accessed 21 October 2024
https://www.theguardian.com/environment/2023/jul/20/post-menopausal-killer-whales-defend-sons-research-finds#:~:text=Female%20killer%20whales%20live%20for,of%20their%20life%20not%20reproducing.
Holzer, Jenny. 1994. Lustmord. Hobart: Museum of Old and New Art (Mona). Accessed 8 September 2024. https://www.mg-lj.si/en/exhibitions/1602/jenny-holzer/.
Mona. 2021. “Sally Rees: Crone”. Accessed 23 October 2024. https://mona.net.au/stuff-to-do/art/sally-rees.
Pollock, Griselda. 1998. “Vision and Difference: Feminism, Femininity and Histories of Art”. London: Routledge.
Simon, Joan. 1994. “No Ladders; Snakes; Jenny Holzer’s Lustmord”. Parkett 1994, Issue 40/41, pp.78-97. https://www.e-periodica.ch/digbib/volumes?UID=ptt-001.
Usher, Shaun. 2016. List of Notes. London: Canongate. pp.46-47.
Wood, Deborah. 2023. “Society ‘disappears’ ageing women. So I harnessed that cloak of invisibility to do all sorts of ‘inappropriate’ things”. Accessed 13 September 2024. https://www.theguardian.com/commentisfree/2023/dec/11/society-disappears-ageing-women-so-i-harnessed-that-cloak-of-invisibility-to-do-all-sorts-of-inappropriate-things.
'Illuminated Matrifocal, a Reflective Artist Statement' was written for assessment, Bachelor of Fine Arts, University of Tasmania
FSA222 Critical Practices: Writing, Assessment Task 3 - Final Project.
Rachel Wolfe is an emerging artist based in Hobart, Tasmania, currently pursuing a Bachelor of Fine Arts at the University of Tasmania. With a diverse and evolving practice, Rachel explores various mediums and techniques to create captivating and thought-provoking works of art. To explore Rachel's latest projects and artistic journey, visit her website www.rachelwolfe.com.au or follow her on social media.
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