Construct of Viewpoint
One of the first ways women could make money working was to sew. They’d often work from home, and their completed pieces would be commissioned from a buyer who would flip them for profit to the public. What happened during this transaction was a loss of identity attached to the work. The textile work itself was so heavily influenced by the woman’s hand during the production process, but the identity of the maker receded once the piece was out of her hands.
I’m interested in incorporating this history with that of contemporary self portraiture photography, as an exercise of advocating female identity. Self portraiture visually prioritizes the artist. The integration of self portraiture and textile grants a clear authority over the female body, an assertion created by the woman. Construct of Viewpoint therefore offers no separation between maker and object. In this sense, it is an act of power for the female to relentlessly insert herself into her own work. From its creation to its public reception, the female is observably present.