The indexical trace of childbirth in which mother is painter and blood is the palette. The canvas is a KylieSheet™- the eponymous fabric square found in hospital labor wards – stained with blood, amniotic fluid and excrement. A Perspex frame encases the soiled material like a petri-dish, protecting the viewer.
Birth. We’ve all experienced it, and yet, owing to infantile amnesia; we cannot remember it. For most of us our concept of birth is derived from cinema or the reminiscences of our parents.
Hospital and television are careful to protect us from the messy nature of childbirth - clinical cloths clean up bloody remains, The Male Gaze hovers over a blue-gowned woman as she screams. It is this glaring omission of the gore of childbirth that serves to perpetuate one of the many myths of motherhood.
Birth Sheets evaluates the phenomenon of childbirth from a new position. By redacting the female form the trace becomes the object of fetishisation, not the woman herself. Painting, the hero of the art-world, is reconfigured to elevate woman, not denigrate.