My beginnings as a practicing young artist were concurrent
with my wholehearted participation in the "second wave"
feminist movement in the USA, beginning in the late 60s. It
was an activist movement based heavily in radical socialist
and liberatory political theories. For me—as for many of
my sisters—the model of the concurrence of theory and
practice has never become obsolete.
My art practice is complex and interdisciplinary.
Twenty-five years ago I worked in environments
(installations), performance, radio and audio art, writing,
collaborations, drawing, painting and sculpture. Today, I
still do, as this kind of multi-disciplinary practice best
accommodates the subject matter, content, and purposes of my
work. My recent mixed media collage words on paper, and my
painted "wounds" represent a cherished and long-standing
commitment to drawing/painting, as a way of exploring
visually psychological and philosophical ideas based in
language. I think of these works as "recombinants," for
they recombine not only traditional media such as watercolor
painting and meticulous ink drawing with the much newer
methods of collage and montage, but they also speak of the
psychic state of the body today—the recombined war body,
which has been violently cobbled together from nomadic
social, cultural and political fragments. The recombinant
body is an uneasy, monstrous depository of melancholic
historical fragments expressed as animal, human, organic and
machine parts. It is a body both beautiful and strange in
its monstrous (im)possibilities. Feminist art likewise is a
recombinant practice and philosophy, an attempt at
practicing (im)possibilities.
I like to think of my visual work as a kind of "applied
theory" based in research about contemporary social and
cultural phenomena and ideas. My latest project, Wall of
Wounds, is an example of such "applied theory." "Show
your wound!" is an imperative which seems to be the
motivation fueling TV and radio's talk-show entertainment
all across America today. We have revised Descartes: I
hurt, therefore I am. Victimhood is the new privileged
status for consumers. It gives everyone an edge. Wounds as
entertainment: pain as pastime and spectacle; a perfect
foil for genuine economic, social and personal trauma.
Wall of Wounds seeks to comment on this situation
using the medium of painting to restore affect in opposition
to the spectacle of pain. At the same time it draws
attention to the consumption aspect of the talk-show
phenomenon, by inviting the viewer to acquire a personalized
wound—a unique, original, hand-painted wound, signed by the
artist. Get your wound here cheap, only $15! What a
bargain! The fluid, repulsive beauty of the small vulnerable
paintings is irresistible. Imagine! your own wallet-sized
wound.
Each wound has a title drawn from a seemingly
inexhaustible list of categories: patriotic wound,
political wound, infectious wound, deep wound, phallic
wound, flesh wound, soul wound, heart wound, false wound,
faith wound, bullet wound, knife wound, urban wound,
tropical wound, unhealable wound, perpetual wound, jagged
wound, self-inflicted wound, family wound, congenital wound,
nomadic wound, love wound. Believe your wound. Choose your
wound. Pick your wound. Lick your wound. Bless your
wound. Curse your wound. Feed a wound. Starve a wound.
Embrace your wound, etc. etc.
The wound paintings start as random "Rorschach" paint-blot
images on skin-like transparent tissue paper. Each one is
then further manipulated with brush and pen. I am currently
very interested in random and involuntary processes and in
the ideas they give me for consciously manipulated and
developed images. My next move will be to scan these images
into the computer and to subject them to electronic
manipulation. I will then be able to combine the hand-made
and the machine made in book-works, WWWEB pages, and other
formats.
Addendum (Fall 1996): The ripple effect of painted
wounds is a new project: embryoworld, in which I am
commenting on the new "assisted conception" technologies.
This project has everything to do with the languages of
science and art which encode our deepest fears, desires, and
longings in narratives of evolution, choice, idealization,
immortality and perfectibility. An installation of mixed
media embryo paintings is accompanied by a textual pedigree
which detours the narratives of the reproductive
technologies.
Faith Wilding is a multi-disciplinary artist. She is
represented by Bronwyn Keenan Gallery in New York; and is
Visiting Faculty at Carnegie Mellon University in
Pittsburgh, and at the MFA in Visual Art Program at Vermont
College.