Visualising Motherhoods Hidden Labour
VISUALISING
MOTHERHOOD
The hidden labour
THIS RESEARCH CONTRIBUTES TO FEMINIST ART HISTORY BY ADDRESSING THE INTERSECTION OF MATERIALITY,
LABOR, AND MOTHERHOOD WITHIN CONTEMPORARY ARTISTIC PRACTICES. IT HIGHLIGHTS THE OVERLOOKED
CONNECTIONS BETWEEN DOMESTIC LABOR AND ARTISTIC CREATION, OFFERING A NUANCED ANALYSIS OF
HOW WOMEN’S LIVED EXPERIENCES ARE REPRESENTED, CRITIQUED, AND REIMAGINED IN VISUAL CULTURE. BY
ENGAGING WITH THESE THEMES, THIS THESIS SEEKS TO BROADEN THE UNDERSTANDING OF HOW ART CAN
FUNCTION AS BOTH A REFLECTION AND A CRITIQUE OF THE SOCIETAL STRUCTURES THAT DEFINE WOMEN’S
LABOUR.
Ciara Reilly
B.A. (hons) in Fine Art, Atlantic Technological University, 2024
B.A(Hons) in Fine Art
Fine Art
Ciara Reilly
Ciara Reilly
28-04-2025
P a g e 1 | 34Contents
_____________________________________________________________
Introduction
____________________________________________________________________
Chapter 1: Materiality – The Impact of Everyday Objects ____________________________
Section 1. Theoretical Framework
______________________________________________
Section 2. Case Studies of Artworks
____________________________________________
Historical Context of Motherhood
_______________________________________________
Chapter 2: Ritualistic Care – Invisible Labour of Motherhood
______________________
Section 2. Motherhood in Art – Material and Emotional Labor
____________________
Chapter 3: Visualising Motherhood in the 21st Century – A Case Study ______________
Section 1: Thematic Framework
_______________________________________________
Section 2: Case Study 1 – “What You See is the Unseen / Chandeliers for Five Cities”
____________________________________________________________________________
Section 3: Case Study 2 - "Needling Whisper, Needle Country / SMS Series in
Camouflage" ________________________________________________________________
Section 5: Synthesis and Connection to Broader Themes ________________________
Conclusion
____________________________________________________________________
List of Illustrations
_____________________________________________________________
References
____________________________________________________________________
Bibliography ___________________________________________________________________
P a g e 2 | 34Introduction
The invisibility of women’s labor, though persistent, is often overlooked by both society
and art history. A growing number of contemporary artists engage with this theme by
incorporating everyday materials to symbolize the labor women perform, both seen and
unseen. Mary Kelley’s work, for example, utilizes yarn—a material traditionally
associated with the domestic sphere, particularly with knitting, which historically
served as both a leisure activity and a vital necessity for women, especially in
impoverished contexts. This duality reflects how domestic labor, though essential, is
often relegated to the private sphere and undervalued. Amy Cutler’s paintings, which
depict the stark and often grim realities of childbirth, confront another form of labor
typically marginalized in both artistic and public discourse. By focusing on the intensity
and complexity of this experience, Cutler sheds light on the emotional and physical toll
that is often rendered invisible in discussions of women’s work. Similarly, Sheena
Gowda’s use of everyday materials in her art, such as metal and rope, resonates with
the lived experiences of marginalized rural women in India, offering a critical
perspective that diverges from Western notions of motherhood. These artists, through
their chosen materials and themes, transform the labor of women into a visual language
that critiques and redefines cultural narratives about motherhood and work.
This thesis is structured into three chapters. Chapter 1 delves into the role of materiality
in women’s art, examining how everyday objects not only symbolize but actively
participate in the representation of labor. Chapter 2 shifts focus to the often-invisible
work of motherhood, exploring caregiving rituals and their depiction in visual culture.
Chapter 3 offers a case study approach to analyzing contemporary representations of
motherhood in 21st-century art, interrogating how these depictions challenge and
reshape societal expectations. Together, these chapters engage with the intersection of
materiality, labor, and motherhood, illustrating how contemporary art both critiques and
transforms the traditional narratives surrounding women’s roles.
This research contributes to feminist art history by addressing the intersection of
materiality, labor, and motherhood within contemporary artistic practices. It highlights
the overlooked connections between domestic labor and artistic creation, offering a
nuanced analysis of how women’s lived experiences are represented, critiqued, and
reimagined in visual culture. By engaging with these themes, this thesis seeks to
broaden the understanding of how art can function as both a reflection and a critique of
the societal structures that define women’s labour.
P a g e 3 | 34Chapter 1: Materiality – The Impact of Everyday Objects
Materiality can mean many things. In this chapter we will explore its meaning through
the lens of feminist art history and its ties to women’s labour. Materiality can be defined
as simply being or can be defined by the significance of the composition of matter.
Marcha Meskimmon “argues that aesthetics and art-making are especially significant to
a feminist corporeal-materialist project in that they mobilise materiality, the senses and
response-ability towards engaged and ethical responsibility. A feminist corporeal-
materialist aesthetics moves away from representation towards figuration and thus
shifts the methodological ground from reflection to diffraction.” (Meskimmon 2019)
Materiality in this chapter refers to both the physical and symbolic aspects of materials
and their relation to women’s labour in art. Meskimmon’s argument invites a shift in
perspective from representation to figurations, offering a more interactive
understanding of art.
With this context we can explore the definition of women’s labour through the lens of
everyday objects. Textiles such as Afghan carpets or embroidery are inherently tied to
women’s labour as recognized by Stephanie Sabo in her journal discussing Conflict
Zones, Labor and Cultural Exchange. “The designs imagined by the artists were
produced by the weavers over a period of months, and the resulting works were
exhibited and sold to benefit a women’s charity in Afghanistan.” (Sabo 2019) Sabo
further explores the socio-economic context of labour reflecting global inequalities and
power dynamics inherent in women’s labour. Building on the theoretical framework set
out by Meskimmon, artists like Ham Kyungah use mixed media, while operating out of
Seoul, uses north Korean textiles to explore social and economic power dynamics.
Kyungah reflects the impact of conflict on both the material and human dimension of
art. Sheela Gowda offers another unique perspective as her work “And Tell Him of My
Pain” uses traditional everyday materials found in rural India, exploring everyday objects
from rural Indian life. By analysing these works and their socio-economic contexts, we
can begin to understand how materiality, gender, and labour intersect in the
contemporary world. The following section will explore how artists like Ham Kyungah
and Sheela Gowda use everyday materials to comment on these issues, shedding light
on the global inequalities that shape women’s labour
P a g e 4 | 34Section 1. Theoretical Framework
Rozsika Parker explores the relationship between everyday objects and their
significance to the feminine experience, specifically in the domestic sphere. Parker
states “that embroidery and a stereotype of femininity have become collapsed into one
another, characterised as
mindless, decorative and
delicate, like icing on a cake,
good to look at, but devoid of
significant content” (Mathews
and Parker 1991) Faith Ringold’s
“Woman on a Bridge” highlights
women’s fantastical desire to be
free, utilising printed and
painted quilt fabric, a traditional
craft associated with domestic
work to showcase this desire.
While a somewhat optimistic
presentation of women at the
time, the motif remains
steadfast in its impact today.
Ringgold is a longtime activist,
fighting for the rights of black
women in America, this can be
seen in her artworks as she
focuses on telling a story in her
art as opposed to intricate
techniques. The telling of information is key to Ringgold in her work and through her use
of quilted fabric, an added layer is shown to the audience while remaining a background
element of the work. Ringgold also used acrylic paint on this piece, while the quilt
remains a background element, it is vital to the structure of the piece, every thread a
necessary foundation to the story being told. While her work comes from a time of
oppression against black women, Ringgold channels this hostile energy through a lens
of colourful, optimistic and fantastical quilted squares.
Figure 1 Faith Ringgold, Woman on a Bridge #1 of 5: Tar Beach, 1988.
Acrylic paint, canvas, printed fabric, ink, and thread, 74 5/8 x 68 1/2 inches,
Solomen R. Guggenheim Museum, New York
P a g e 5 | 34Figure 2 Mona Hatoum, Great Divide, Sculpture, 2002, White Cube Hoxton Square
Mona Hatoum also uses everyday materials such as human hair, to challenge
traditional notions seen in art. In her exhibition “Great Divide” in 2022 Hatoum employs
motifs of metal beds, visualising an institutional aesthetic. Briefcases are connected to
each other by human hair. The work is impactful to view, recalling the social control held
over women and the ritualistic use of furniture typically associated with safety, a bed,
instead being weaponised within institutions designed to control women. Hair has long
since been associated with femininity and furthermore, power. Using human hair in her
work is a powerful mechanical to visualise something not usually drawn to the forefront
of the audience’s attention. Typically seen as something that is, as opposed to
something that should be actively noticed. It draws from the association of women
keeping up their appearances, while being actively oppressed by society. Ham Kyungah
is an artist based in Seoul who uses traditional North Korean textiles in her work,
representing an invisible subject hidden through layers of sociopolitical ideologies and
subjectivity. Kyungah’s work is representative of an unseen injustice on North Korean
women, given an audience through her. As seen, materiality transforms our perception
of women’s labour through these pieces. Women are constantly fighting a battle being
physically, mentally and spiritually restrained within the confines of a society they had
little part in creating their perception in. Strong women are reduced to delicate
creatures of the house, not unlike embroidery or quilting, despite such activities being
necessary, they are seen as decorative.
P a g e 6 | 34Section 2. Case Studies of Artworks
Sheela Gowda, born in 1957, is an artist based in India. Gowda is renowned for her
installation artworks where she uses everyday materials to convey emphasis on
traditional craftsmanship and labour. The materials used in her practise represent
everyday rural life in India, including humans air, cow dung and Kumkum powder.
Gowda chooses not to outsource the physical labour of her practise as she sees it as
integral to the practise. The materials themselves dictate the piece it will be become.
“And Tell Him of my Pain” is a key work of Gowda’s
where red cords were hung and bound together with
red Kumkum powder. In total the piece had a length
of 360 feet of thread. The work represents the body
of marginalised women, undervalued in India while
being important players in the structure of society.
The work can see been as literal in the sense that it
is representing organs and vessels, or it can be seen
as metaphor for the marginalised women that build
the foundation of society. While the work tethers the
line between abstraction and literal, it invites a
nuanced lens to view society through. Politics is
ever present in Gowda’s work where she presents
thought provoking imagery, inviting the viewer to
reimagine the materials they see around them.
Figure 3 Sheela Gowda, And Tell Him of My
Pain, 2002–2007. Courtesy the artist.
Another key work of Gowda’s
“behold” she uses 400,000 metres
of human hair to create dense rope,
which is hung from the ceiling and
woven together in a large
installation piece. The piece fills the
entirety of the room. The piece was
inspired by the industrialisation of
female hair, where the hair comes
from temples where pilgrims
sacrifice their hair which is then
sold as wigs. This mimics the theory
discussed in section 1 discussing
how female hair is associated with
Figure 4 Sheela Gowda, Behold, 2009, human hair, steel.
Installation view, Van Abbemuseum, Eindhoven, the Netherlands,
2013. Photo: Peter Cox.
P a g e 7 | 34beauty, and the links it to perceived value. Gowda’s excessive use of human hair in this
piece forces the viewer to see it, an ever day object seen by most ever single day, in a
new light.
Handling a material makes me understand its limitations and its potential … I therefore
do not outsource the physical aspect of artmaking.
Sheela Gowda quoted in Trevor Smith (ed.), Sheela Gowda, exhibition catalogue, Bose
Pacia Gallery, New York 2007, p.148. (Who is Sheela Gowda? | Tate [no date])
Figure 5Figure 5 Ham Kyungah, what you see is the unseen / Chandeliers for Five Cities SR 01-02, 2015, North Korean
hand embroidery, silk threads on cotton, middle man, tension, anxiety, bribe, censorship, ideology, wooden frame,
approx. 1600hrs / 2persons, 180
Ham Kyungah’s practise is defined by both the historical and the present relevance of
power dynamics. She is well known for her collection “What You See is the Unseen”
Kyungah uses embroidered canvases created with assistance from North Korean
artisans who alongside Ham, create detailed embroidery. The communication happens
in code, and the pieces are smuggled to and from south and north Korea. The piece is
unassuming at first, it is the needlework done by anonymous North Korean artisans that
breath new meaning into what it means to be seen. There was a risk of the works being
confiscated in transit, and of course the safety of the artists in North Korea was also a
concern however this risk is part of the process for Kyungah. The importance of the risk
P a g e 8 | 34highlights the important of giving those with no voice, a platform to be heard. The piece
shows a glimmering chandelier on a black background, offering a juxtaposition between
the two countries, giving the viewer a lens to view the invisible oppression, censorship
and anxiety associated with North Korea, while also offering the glamourous and
sparkling chandelier to represent what could be.
“If politics, systems, and rules are based on some sort of ideology, I think that art is
something that lies on the edge where it can transcend, translate, and express one's
experience. ” Ham Kyungah (Kyungah Ham | Ocula [2016])
Each artist discussed comes from a different political, economic and geographical
area, but they intersect in their use of everyday materials to visualise harrowing topics
considered taboo in everyday life. The physical labour of transporting works across
borders where safety is at risk for everyone involved so that those marginalise people
get their voices heard, of sewing a quilt representing the oppression of black women
and using human hair and Kumkum powder as a vessel to discuss the foundational
necessity of women in India. The mental labour of working with disturbing topics, often
associated with an intense history of oppression, such as Mona Hatoum’s piece Great
Divide, is ever present in the choice an artist makes to use material that bare the load of
this mental and physical anguish. We can further explore the intent of the materials as a
mode of metaphor.
P a g e 9 | 34Historical Context of Motherhood
The representation of motherhood has undergone significant transformation over the
centuries. Maternal figures were often idealised, portrayed as nurturing caregivers
within the domestic sphere. Particularly during the 18th and 19th century these
deceptions reinforced traditional gender roles and the notion of motherhood as an
inherently virtuous state. Mary Cassett with works such as Mother and Child
exemplified the idealised portrayal of motherhood at the time, emphasizing the
tenderness that comes with maternal care with the added layer of a mother bound by
the societal religious expectations of her. Romanticised portrayal like this, overlook the
complexities and challenges of motherhood, imprisoning the labour and emotional toil
many mothers experience to the privacy of the home. Giya’s The Family of Charles Iv
presented an aristocratic family portrait which shows a Queen Maria standing at the
centre surrounding by her children. The mother being placed at the centre of the
painting shows a mother’s central role within the domestic sphere. While both paintings
depict motherhood differently there are key comparisons to be made, particularly the
focus on the societal expectations of the time being mirrored in the pieces,
romanticizing the often unseen or undervalued labour of motherhood
Figure 6 Mother and Child (The Oval Mirror) Mary Cassatt, American, ca. 1899, The Met Fifth Avenue, Gallery 774
P a g e 10 | 34Mary Cassett’s Mother and Child is a key example is exploring the intimacy of the
domestic sphere, capturing the tender relationship between mother and child. As a
central figure in the impressionist movement, Cassett was known for her ability to
portray women with a sensitivity not seen at the time. In this painting, Cassett portrays a
child nestled in the mother’s chest, the body language of both figures suggesting
warmth and comfort, particularly showing the love a mother has for her child while
gazing down on them. All these qualities were seen as societally expected and such
idealised within the portrayals of motherhood in the 19th century. Within the cultural
context, motherhood was seen as a virtuous act, with mothers’ primary function to care
for children domestically, witling their identity to that of a caregiver. Paintings such as
Mother and Child reinforce these notions while also depicting the societal burden of
religious expression. The oval mirror behind the child reveals a halo behind them,
enhancing the link to the Virgin Mary and Jesus.
Mother and Child reflects the maternal bond while also addressing the limitations of the
eras romanticised view on motherhood. The image, while affectionate, overlooks the
depth of the emotional labour involved in motherhood. While this is a singular
interpretation of the piece, the societal relevance of the time permeates the piece,
showcasing the visual representations of motherhood as a romanticised role in the
household.
Figure 7 The Family of Charles IV, 1800 by Francisco Goya
P a g e 11 | 34When discussing Goya’s work, The Family of Charles IV its important to consider the
context of royalty. The painting represents the family in a highly idealised yet socially
grounded manner. Paying particular attention to Queen Maria Lusia of Spain at the
centre of the image, flocked by her children, we can analyse in depth the significance of
the mother as not only central to the composition but also central to the foundation of
society. Unlike other depictions of motherhood aiming to connect on the emotional
bonds between mother and child, Goya portrays a sense of public responsibility in his
piece. The mother present is not only the symbol of love, but also a symbol of prestige,
graciousness and royalty.
The royal family is often associated with religious symbolism and standards and this
societal expectation stands true in Goya’s piece. This is subtly suggested by the careful
positioning and body language of the figures within the painting, echoing an almost
ceremonial atmosphere. The figures are stiff and formal, showing the rigidness of
society in its steadfastness around the expectations of motherhood. Goya illustrated
the duality of mother and monarch in his piece, while a reigning queen her depiction is
underscored by the pervasive societal view of motherhood as her primary identity.
Despite her status as a queen, the painting reinforces the notion that her most
important duty is as a caregiver to her children. Her role as mother is presented as her
primary role in the familial sphere and the regal attire and formal atmosphere does not
detract from the underlying message that her role is primarily as caregiver to her
children. Goya’s work becomes a profound commentary on the limitations placed on
women of the era, where even figures of immense power were first and foremost view
through the lens of motherhood, shaping their public and private lives alike.
P a g e 12 | 34Chapter 2: Ritualistic Care – Invisible Labour of
Motherhood
The concept of invisible
labour can be a difficult
topic to tackle, how do
you define something
you cannot perceive?
The truth is, invisible
labour can be seen
everywhere around us
and in the context of
motherhood, we can
analyse the tasks of the
unseen yet
indispensable work that
are integral to core of
Figure 8 Mary Kelly, Post-Partum Document, 1973-79, perspex units, white card,
sugar paper, crayon, 1 of the 13 units, 35.5 x 28 cm each
daily life. From everyday
domestic tasks to the emotional nurture inherent in mothers, they are often dismissed
as unremarkable as these tasks typically go unnoticed. Mary Kelleys postpartum
document, explored the early years of her son’s life, making visible the unseen aspects
that come with maternal care. The complete work has 139 individual parts, exploring
the labour of mothers from changing nappies to diary entries, we get a glance into the
more intimate side of the labour of motherhood. Kelley was engaging in a topic that was
not often discussed out loud in the 70’s.
Adrienne Rich, author of “Of Woman Born” delves into the oppression of women,
specifically calling on men to step up to the caregiving role. Though written in the 70’s,
Rich’s sentiment rung familiar bells with women during the pandemic, specifically
Cynthis R. Wallace who writes “ My pandemic experience, reduced to an atomized
household, exposes the mid-century lie of a self-contained and self-sustaining nuclear
family: one woman (or even one set of parents) cannot possibly meet the sum total of a
child’s needs, regardless of whether she or they are concurrently working for wages.”
(Rereading Of Woman Born: Motherhood as Experience and Institution - Ploughshares
[2021]) The piece highlights the connection women find throughout time and history,
despite different circumstances, their lived experience remains steadfast. Rich and
Wallace reflect on the labour of motherhood in the caregiving aspect, and how despite
being foundational to the lived experience in the domestic sphere can go unnoticed on a
societal level.
P a g e 13 | 34Maternal care can be likened to ritualistic, the cyclical nature of tasks such as feeding
and cleaning invites a sense of routine, both grounding and exhausting. These acts
reflect the dual nature of the labour involved, emotional and physical. With this labour
comes the burden of love, yet despite being central to societal survival, this invisible
labour of motherhood generally goes unnoticed. Artists like Louise Bourgeois, Mary
Kelley and Caroline Walker seek to disrupt the invisibility, visualising the labour of other
in their artworks. This chapter explored the intersection of ritual labour and art, in the
context of motherhood. It examines how these artists use their work to critique and
celebrate maternal care, giving the unseen a platform to be witnessed.
Section 2. Motherhood in Art – Material and Emotional Labor
Artists such as Louise Bourgeois, Caroline Walker and marry Kelley visually articulate
the complexities of invisible maternal care, making the unseen aspects of mother
visible in their work. Analysing specific pieces by these artists exploring a consistent
theme, despite having different lived experiences and different time periods of
relevance, their work reflects the broader dilemma of ritualistic unseen labour of
mothers.
Figure 9 Post-Partum Document. Documentation III: Analysed Markings And Diary Perspective Schema
(Experimentum Mentis III: Weaning from the Dyad)
P a g e 14 | 34Mary Kelley, born 1941, used everyday materials from her average domestic day as a
mother to create and display as artwork as part of her “Post Partum Document” piece
which debuted from 1973-1979. At a time when send wave feminism became prevalent,
Kelley wanted to represent the domesticated life of women post war. Kelley collected
memorabilia from her son’s life from the day he was born to age 5, Kelley documents
some of her fears and anxieties while simultaneously being surrounded by drawings
from her young son. He draws directly over Kelleys’ words, symbolling the work done by
Kelley being invisible to the child. The child being so carefree contrasts directly with
Kelley’s emotional words. Both exist in a symbiotic relationship where Kelley’s son
wants to be seen while saying nothing, whereas Kelley herself has so much to say with
little of her words being heard. Kelley herself says “If any work of art should be allowed
to speak for itself, it is this one, since its goal is to give voice” (Mary Kelley [no date])
Figure 10 Mary Kelly, *Post-Partum Document: Introduction*, 1973. Mixed media: Perspex units, white card, wool
vests, pencil, ink. Dimensions: 10 × 8 in (25.4 × 20.3 cm). Exhibited at Hammer Museum, Los Angeles.
Deeper analysis of the piece leads to the exploration of the topic on a primitive level, as
Kelleys son, untouched by societal expectations juxtaposes Kelleys lived experience as
a mother being expected to participate in laborious tasks in her day-to-day life without
P a g e 15 | 34any thanks for it. Annotated Nappy liners are a striking element used in the piece, these
annotations alone may not be impactful but paired with the nappy liners, a the
mundane is transformed from a private maternal task into a public spectacle. The
viewer is compelled to confront the raw and unglamourous aspect of motherhood,
underscoring the often-overlooked realities of maternal life. Kelley’s work aligns with the
feminist movement’s broader critique of domestic labour. The everyday object included
in the post-partum document elevate the personal, intimate objects of a mother’s life,
into an audience capable of witnessing something typically kept in the domestic
sphere.
Figure 11 Maman, Louise Bourgeois, Bronze Marble and Steel, 29 ft 4 3/8 in x 1 7/8 in x 38 ft 5/8 in, Guggenheim Bilbao
museoa, 1999
Louise Bourgeois, born 1911, began her endeavours into sculpture when her
dissatisfaction with paintings led to her to hypothesising that she could create far
deeper emotions in a three-dimensional space. Bourgeois sought to bring something
typically hidden in the psyche, to the forefront of reality. Bourgeois is most well known
for her largest sculpture, Maman, meaning Mom in French. The embodiment of many
fears, the sculpture shows a powerful spider figure made from brass and steel. TheP a g e 16 | 34symbolism of the spider was a repeated motif in Bourgeois’s work for much of her
career. Spiders are a familiar and for many, fearful creature that can represent anxiety
but also symbolise the protective nature of mothers. Despite arachnophobia being a
common fear, it does not seem to have its role in the purpose of the sculpture, instead
Bourgeois was viewing the spider through the lens of a nurturing mother.
Spiders symbolise a childhood fear that is commonly shared amongst many people,
however they also symbolise the unconditional love of a mother. The sculpture itself is
made of a strong material, steel and bronze, at a staggering 30 feet tall the giant spider
overwhelms the viewer. The spider can be characterised by its elongated legs and a
body suspended above the viewer carrying a sac of marble eggs. The sculpture is
intricately detailed evoking an almost primal, visceral reaction showcasing both the
strength and vulnerability that comes from motherhood.
Bourgeois own mother was a tapestry weaver, so an assumption can be made that
Maman is a direct reflection of Bourgois own mother. With this added context, the
spider seen as a weaver, becomes a powerful metaphor for the intricate and continuous
work of mother, work that, like weaving, is both essential and largely unseen.
“Like a spider, my mother was a weaver. My family was in the business of tapestry
restoration, and my mother was in charge of the workshop. Like spiders, my mother was
very clever. Spiders are friendly presences that eat mosquitoes. We know that
mosquitoes spread diseases and are therefore unwanted. So, spiders are helpful and
protective, just like my mother.”(Female Iconoclasts: Louise Bourgeois - Artland
Magazine [no date])
In Maman, Bourgois invites the viewer to confront their perception of motherhood,
making the invisible labour and emotional complexities of maternal care visible. Her
work situates maternal care with a broader narrative of feminist art, challenging the
traditional domestic sphere by elevating it to the realm of public art and culture
discourse. The towering sculpture transforms the delicate and often unseen aspect of
maternal work into something grand and undeniable, the spider dual role as both a
creator and protecter mirrors the multifaced nature of mother, where nurturing and
providing security are constant yet frequently unacknowledged tasks. This act of making
the intimate privacy of motherhood public, serves as a powerful critique of the societal
structures that have long devalued women.
P a g e 17 | 34Figure 12 Caroline Walker, Night Feed, 2022, Oil on board, 36 x 30 cm
Caroline Walker, born 1982, is a contemporary artist who engages the nuances of
domestic spaces and often the unseen labour of women, in particular mothers.
Walker’s focus on the intimate everyday moments reflects the often-quiet resilience
and solitude for women in the domestic setting. In painting such as Nightfeed, Walker
portrays a woman engaging in mundane tasks, moments that are tender, intimate and
unseen to society. Walker’s use of natural light and shadows plays a crucial role in
conveying the emotional depth of these scenes. This represent not only the physical
P a g e 18 | 34space but also the inner lives of the subject. Walker typically bathes the subject of her
work in a welcoming warm golden light juxtaposing the cold hue representing the
mundaneness of the world outside.
The solitary figures within Walker’s painting underscore the isolation that often comes
with motherhood, even within familial surroundings the women often appear alone,
engrossed in their domestic tasks. The visual narrative speak to the hidden emotional
labour and the often-unspoken loneliness many mothers experience.
Walker’s work aligns with broader feminist critiques of the undervaluation of domestic
labour. By bringing these private moments into the public sphere, her paintings
challenge traditional notions of motherhood and domesticity, elevating the often-
overlooked efforts of women to a place of visibility “My work engages with the history of
painting women, which has largely cast the male artist as the portrayer of the female
realm. I suppose I’m revisiting that, but through a female gaze,”(Caroline Walker: The
Female Gaze – the thread [no date]) Historically, the representation of women in art has
often been dominated by male artists who have shaped and defines how femininity and
motherhood are portrayed. These representations tend to reinforce traditional gender
roles and often objectified the female experience
Figure 13‘Bathroom Sink Cleaning, Mid-Morning, March’, from 2019 © Caroline Walker
P a g e 19 | 34By adopting a “Female Gaze” Walker reclaims the power to define and portray mothers
lived experience, particularly the invisible and undervalued aspect of domestic labour.
"Walker’s work challenges the patriarchal lens that has long dictated artistic narratives,
subverting the stereotypical portrayal of women as passive subjects. Instead, Walker
emphasizes the labour, isolation, and emotional intricacies of maternal roles, creating a
space for women to be represented on their own terms. In revisiting the history of
painting through this new approach, Walker offers a vital commentary on the continued
invisibility of women’s labour in the home, inviting the viewer to consider how societal
expectations of mothers’ roles still impact their identities today.
P a g e 20 | 34Chapter 3: Visualising Motherhood in the 21st Century –
A Case Study
In the 21st century, the representation of motherhood in art has evolved significantly,
reflecting broader societal changed in how maternal labour, identity and care are
perceived. This chapter explores how the visual culture today engages with the concept
of mother, using the works of South Korean artist Ham Kyungah as a primary case study.
Kyungah’s art, characterised by its intricate embroidery, offers a profound commentary
on the unseen labour and emotional depth associated with maternal roles. By
examining series such as What you see is the unseen, Needing Whisper and Room with
a view, this chapter investigates how Kyungah’s work parallels the hidden, often
undervalues aspects of motherhood. Through a detailed analysis of these series, this
chapter aims to uncover how Kyungah’s art challenges historical narrative about
motherhood and offers a nuanced perspective on the dualities of empowerment and
constraint inherent in maternal labour today. In doing so this chapter not only highlights
the shifting artistic representation of motherhood but also connects Kyungah’s work to
the ongoing cultural discourse surrounding gender, labour and identity, demonstrating
how contemporary art continues to shape and reflect societal perceptions of maternal
roles.
Section 1: Thematic Framework
Historically, representations of motherhood in art have been shaped by societal norms
surrounding women’s roles within the family. As Linda Nochlin (1971) notes, 'The
problem of women in art, then, is not one of the lack of talent or ability, but of the
existence of institutionalized structures that make it difficult, if not impossible, for
women to achieve the same status or recognition as men.'(Ellen C. Caldwell 2018) From
the classical depictions of the Virgin Mary in religious art to the sentimentalized
portrayed of domestic motherhood in the 19th century, maternal figures have often been
idealised as self-sacrificing, nurturing and pure. These representations were typically
framed within patriarchal structures, where maternal labour, though essential, was
invisible and undervalued. Early representations often glossed over the complexity of
motherhood, focusing instead on the idealised image of women as passive subjects,
rarely acknowledging the emotional and physical labour that women’s roles demanded.
Moreover, the emotional labour of motherhood—often invisible in art—has been
relegated to the private sphere, as Sandra Gilbert and Susan Gubar (1979) argue, 'The
emotional labour of motherhood, often invisible in art, has been historically relegated to
the private sphere where it remains undervalued and ignored.' (Kolodny et al.
1980)These depictions reinforced the notion of motherhood as a natural, effortless
state rather than a socially constructed and labour-intensive process.
P a g e 21 | 34Simone de Beauvoir critique how women have been defined by their reproductive roles
in her work, The Second Sex. Beauvoir argues that women’s identity has historically
been tied to their biological functions, including reproduction which links directly to
their maternal roles, which leads to societal subordination. Maternal identity has long
been imposed on women through these social expectations. This theory allows us to
question arts tendency to idealise maternal figures and ignore the complexities of
motherhood tat Beauvoir argues are socially constructed, famously quoting “One is not
born, but rather becomes, a woman” (Darroch 2008)
Nancy Chodorow’s psychoanalysis of feminist theory on motherhood focuses on how
motherhood shapes women’s identities in her work “The Reproduction of Mothering”
Chodorow argues that maternal roles are culturally constructed and perpetuated
through society, echoing Beauvoir’s theory.
Arlie Hochschild’s theory of emotional labour required by worker in the domestic sphere
to meet the expectations of other is often invisible and undervalued. “Emotional labour
is the management of feeling to create a publicly observable facial and bodily
display.”(The Managed Heart: Commercialization of Human Feeling [no date])
Hochschild’s concept provides a lens to understand the unseen emotional work in
motherhood.
These feminist theories inform the interpretation of contemporary works of art,
particularly, Ham Kyungah. By applying these theories to Kyungah’s works, we can see
how artists break down and reveal the hidden labour of motherhood that is often
romanticised in historical portrayals.
Section 2: Case Study 1 – “What You See is the Unseen / Chandeliers
for Five Cities”
As discussed earlier, Ham Kyungah’s work stands as an exploration of hidden labour
and power dynamics. This collection, created in collaboration with traditional
embroiders from North Korean artisans, encapsulates the invisible labour associated
with motherhood. Within the context of the divided Korean Peninsula, the series brings
to light the unseen efforts behind are and life itself, offering a lens through wish to
examine the broader societal narrative, particularly those centred on maternal roles.
P a g e 22 | 34Figure 14 Ham Kyungah, What you see is the unseen / Chandeliers for Five Cities BK 03-06, 2016 - 2017, North Korean
hand embroidery, silk threads on cotton, middle man, tension, anxiety, bribe, censorship, ideology, wooden frame,
approx. 1700hrs / 2persons, 230 c
Visually, the series is characterised by intricately embroidered depictions of
chandeliers, rich in texture which is highlighted from the black backdrop. The
P a g e 23 | 34needlework in the piece draws the viewer inwards, showing delicate patterns and the
play of light on the chandeliers surface. The process of making the piece is almost as
compelling as the final work. Kyungah collaborated with artisans from North Korea who
completed the embroidery. This method of creation links the piece directly to unseen
labour but also introduces the risk and political sub context of the piece. The use of
embroidery, historically a domestic artform, parallels the unseen labour of mothers in
the household.
Figure 15 Figure 15 Ham Kyungah, What you see is the unseen / Chandeliers for Five Cities DSK 01-D-02, 2016 - 2017,
North Korean hand embroidery, silk threads on cotton, middle man, tension, anxiety, bribe, censorship, ideology,
wooden frame, approx. 1000hrs
P a g e 24 | 34Just as the North Korean artisans remain anonymous and unacknowledged, so too does
the emotional and physical work of motherhood go unrecognized in society. The
shimmering chandeliers serve as a metaphor for the hidden work, the chandeliers,
visible and captivating, are a product of the hidden labour of unappreciated workers,
echoing the societal tendency to value outcome over process.
In conclusion, Ham Kyungah’s “What you see is the unseen” is a compelling
embodiment of the hidden aspects of maternal labour. By drawing parallels between
the invisible efforts of the north Korean artisans to the significantly undervalued work of
maternal care, the series contributes to contemporary discussions on the visibility of
maternal work. Themes of invisibility echo through Kyungah’s work setting the stage for
further discussion of her piece “Needling Whisper”
Section 3: Case Study 2 - "Needling Whisper, Needle Country / SMS
Series in Camouflage"
Figure 16 Figure 16 Needling Whisper, Needle Country / SMS Series in Camouflage / Big Smile R01-01-01
P a g e 25 | 34Needling Whisper by Ham Kyungah is an exploration of communication and hidden
narratives. This series features text stitched into canvas where the words are
camouflaged into intricate patterns through embroidery. The piece represents the
difficulty in open communication. The piece, designed by Kyungah was made by North
Korean artisans, in particular a key work “Big Smile” a North Korean motto, represents
the repressive environment which bred the need for such work to be made. The duality
of visibility plays a crucial role in uncovering the true meaning behind the piece, the
viewer must engage in deeper societal issues which lay the foundation for “Needling
Whisper”
The subtlety in the messaging mirrors the unspoken emotional labour behind
motherhood. Just as the words on the canvas are concealed, so is the emotional work
experienced by some mothers, which is often left unseen yet essential to the
functioning of society. This emotional labour requires patience, skill and resilience yet
remains undervalues and unrecognized, mirroring the North Korean artisans lack of
acknowledgement in a society where their work is crucial. Kyungah’s work also explores
the theme of censorship, which parallels the pressures of mothers to conform to
idealised roles. The act of concealing messages in the canvas echoes the way mothers
often silence their own desires and voices to fit into the societal expectations placed
upon them. In many cultures women are often forced into a romanticised perception
societally, as the expression of maternal dissatisfaction is dismissed, often leading to
an idealised narrative being pushed onto mothers. The camouflage in this series acts as
a metaphor for this imposed invisibility. Societal censorship of maternal expression
reinforces the undervaluation of their emotional and physical labour, much like the
artisans behind the work in the series remaining unseen.
“Needling Whisper” conveys the complexities of hidden communication, drawing
parallels of the unspoken emotional and physical work of motherhood, to the intricately
embroidered labour of unseen North Korean artisans. The series invited the viewer to
reconsider the visibility of emotional labour and the ways in which societal pressures
dictate maternal expression. Building on the themes of hidden labour, “Room with a
View” delves into the complexities of confinement.
Section 5: Synthesis and Connection to Broader Themes
The case studies discussed, Needling Whisper and What You See is the Unseen” offer
insights into the complex realities of motherhood in contemporary visual culture.
Several common themes emerge throughout the pieces, most notably the unseen
nature of maternal labour which is visualised through the process to create What You
See is the Unseen. The emotional depth embedded in caregiving is echoed in the
embroidery of Needling Whisper as the expression of such emotions is typically kept in
the privacy of the domestic sphere. These works communicate the nuanced often
undervalued roles that mothers play in society.
P a g e 26 | 34The materiality, a key theme in chapter 1, is central to both case studies. The tactile
approach to creating the pieces visually translates to the emotional and invisible labour
many mothers endure. The physicality of the stitches becomes a metaphor for the
often-hidden work performed in the privacy of the home. Similarly, the fragility of the
chandeliers embodies the preciousness of the maternal role, illustrating how
motherhood is a delicate balance, easily disrupted by external societal pressures.
As we consider the broader cultural implications these works contribute significantly to
the evolving perception of motherhood in the 21st century. Through their focus on every
day, domestic materials to the emotional weight carried by many mothers, these works
challenge societal expectations. Society often expects mothers to embody selflessness
and nurturing while any deviation from this can be scrutinized. The fragility of such
expectations can be symbolised by the delicate chandeliers within What You See is the
Unseen. Additionally, both case studies challenge the expectation of maternal labour
remaining invisible within the home, as the embroidery performed by anonymous
artisans symbolises how society often undervalues the emotional and physical work
many mothers do. The audience is invited to reflect on how modern visual culture
shapes our understanding of gender roles, maternal identity and the value of caregiving
in society. Needling Whisper and What You See is the Unseen provide a valuable
commentary on the intersection of motherhood, labour and identity in the 21st century.
Looking forward, the implications of these works suggest that contemporary visual
culture plays a crucial role in redefining maternal representations in art. The pieces
discussed not only challenge historical narratives that have often romanticised the
struggles of motherhood but also confront the modern expectations of the “perfect”
mother. Exposing the emotional depth beneath the surface, Kyungah reconsiders the
value and significance of anonymity, both culturally and societally.
P a g e 27 | 34Conclusion
In Visualizing Motherhood, this thesis has explored the complex realities of maternal
labour and identity through the lens of contemporary visual culture. By investigating the
works of various artists, this thesis has highlighted how art can challenge the invisibility
of motherhood and reveal the emotional weight of caregiving. The intersection of
materiality, emotional labour, and societal expectations has emerged as a recurring
theme throughout the analysis. Collectively, the artists discussed in this thesis—Sheela
Gowda, Caroline Walker, Ham Kyungah, and Mary Kelly—challenge the romanticized
portrayals of motherhood, offering a more nuanced and complex understanding of the
daily labour that mothers engage in.
Though not every work directly addresses maternal care, each artist’s exploration of
broader societal expectations mirrors the pressures and sentiments often imposed on
mothers. The use of materiality in the works of these artists, whether through everyday
objects or intricate processes, amplifies the emotional labour and hidden aspects of
motherhood. By examining the contributions of Gowda, Walker, Kyungah, and Kelly, this
thesis has shown how contemporary art serves as a critical tool for reevaluating the
perception of motherhood. These artists reshaping our understanding of what it means
to visualize motherhood today. Their work invites us to reconsider, and challenge
societal norms, offering a deeper insight into the emotional, physical, and often
invisible work that defines the maternal experience.
P a g e 28 | 34List of Illustrations
Figure 1 Faith Ringgold, Woman on a Bridge #1 of 5: Tar Beach, 1988. Acrylic paint, canvas, printed fabric,
ink, and thread, 74 5/8 x 68 1/2 inches, Solomen R. Guggenheim Museum, New York ___________________
5
Figure 2 Mona Hatoum, Great Divide, Sculpture, 2002, White Cube Hoxton Square _____________________
6
Figure 3 Sheela Gowda, And Tell Him of My Pain, 2002–2007. Courtesy the artist. _______________________
7
Figure 4 Sheela Gowda, Behold, 2009, human hair, steel. Installation view, Van Abbemuseum, Eindhoven,
the Netherlands, 2013. Photo: Peter Cox. ____________________________________________________________
7
Figure 5Figure 5 Ham Kyungah, what you see is the unseen / Chandeliers for Five Cities SR 01-02, 2015,
North Korean hand embroidery, silk threads on cotton, middle man, tension, anxiety, bribe, censorship,
ideology, wooden frame, approx. 1600hrs / 2persons, 180 ____________________________________________
8
Figure 6 Mother and Child (The Oval Mirror) Mary Cassatt, American, ca. 1899, The Met Fifth Avenue,
Gallery 774 ______________________________________________________________________________________
Figure 7 The Family of Charles IV, 1800 by Francisco Goya __________________________________________
Figure 8 Mary Kelly, Post-Partum Document, 1973-79, perspex units, white card, sugar paper, crayon, 1 of
the 13 units, 35.5 x 28 cm each ___________________________________________________________________
10
11
13
Figure 9 Post-Partum Document. Documentation III: Analysed Markings And Diary Perspective Schema
(Experimentum Mentis III: Weaning from the Dyad) _________________________________________________
14
Figure 10 Mary Kelly, *Post-Partum Document: Introduction*, 1973. Mixed media: Perspex units, white
card, wool vests, pencil, ink. Dimensions: 10 × 8 in (25.4 × 20.3 cm). Exhibited at Hammer Museum, Los
Angeles. ________________________________________________________________________________________
15
Figure 11 Maman, Louise Bourgeois, Bronze Marble and Steel, 29 ft 4 3/8 in x 1 7/8 in x 38 ft 5/8 in,
Guggenheim Bilbao museoa, 1999 ________________________________________________________________
16
Figure 12 Caroline Walker, Night Feed, 2022, Oil on board, 36 x 30 cm _______________________________
Figure 13‘Bathroom Sink Cleaning, Mid-Morning, March’, from 2019 © Caroline Walker _______________
18
19
Figure 14 Ham Kyungah, What you see is the unseen / Chandeliers for Five Cities BK 03-06, 2016 - 2017,
North Korean hand embroidery, silk threads on cotton, middle man, tension, anxiety, bribe, censorship,
ideology, wooden frame, approx. 1700hrs / 2persons, 230 c _________________________________________
23
Figure 15 Ham Kyungah, What you see is the unseen / Chandeliers for Five Cities DSK 01-D-02, 2016 -
2017, North Korean hand embroidery, silk threads on cotton, middle man, tension, anxiety, bribe,
censorship, ideology, wooden frame, approx. 1000hrs / 1person, 92 _______
Error! Bookmark not defined.
Figure 16 Needling Whisper, Needle Country / SMS Series in Camouflage / Big Smile R01-01-01 Silk
embroidery mounted on a wooden frame 2015, by Ham Kyungah (artist) and anonymous North Korean
embroiderers
Error! Bookmark not defined.
__________________________________________________________
P a g e 29 | 34References
Caroline Walker: The Female Gaze – the thread. [no date]. Available at:
https://blog.fabrics-store.com/2019/10/27/caroline-walker-the-female-
gaze/?utm_source=chatgpt.com [Accessed: 9 January 2025].
Darroch, F. 2008. The Second Sex. By Simone de Beauvoir. Literature and Theology
22(3), pp. 368–371. doi: 10.1093/LITTHE/FRN030.
Ellen C. Caldwell. 2018. Linda Nochlin on “Why Have There Been No Great Women
Artists” - JSTOR Daily. Available at: https://daily.jstor.org/linda-nochlin-on-why-have-
there-been-no-great-women-artists/ [Accessed: 30 October 2024].
Female Iconoclasts: Louise Bourgeois - Artland Magazine. [no date]. Available at:
https://magazine.artland.com/female-iconoclasts-louise-
bourgeois/?utm_source=chatgpt.com [Accessed: 9 January 2025].
Kolodny, A., Gilbert, S.M. and Gubar, S. 1980. The Madwoman in the Attic: The Woman
Writer and the Nineteenth-Century Literary Imagination. American Literature 52(1), p.
128. doi: 10.2307/2925194.
Kyungah Ham | Ocula. [no date]. Available at:
https://ocula.com/magazine/conversations/kyungah-ham/ [Accessed: 3 January 2025].
Mary Kelley. [no date]. post partum document. Univerist of california press. Available at:
https://books.google.ie/books?hl=en&lr=&id=aRYD3DCrE9cC&oi=fnd&pg=PR12&dq=M
ary+Kelleys+Post+Partum+Document&ots=Y4dHNjJliw&sig=huLkW9Bk_QIj59w3oVc_Q
Yl5wao&redir_esc=y#v=onepage&q=Mary%20Kelleys%20Post%20Partum%20Docume
nt&f=false [Accessed: 7 January 2025].
Mathews, P. and Parker, R. 1991. The Subversive Stitch: Embroidery and the Making of
the Feminine. Woman’s Art Journal 12(1), p. 45. doi: 10.2307/1358191.
Meskimmon, M. 2019. Art Matters. A Companion to Feminist Art, pp. 351–367. Available
at: https://onlinelibrary.wiley.com/doi/full/10.1002/9781118929179.ch20 [Accessed: 1
January 2025].
Rereading Of Woman Born: Motherhood as Experience and Institution - Ploughshares.
[no date]. Available at: https://pshares.org/blog/rereading-of-woman-born-
motherhood-as-experience-and-institution/?utm_source=chatgpt.com [Accessed: 4
January 2025].
Sabo, S. 2019. Conflict Zones: Labor and Cultural Exchange in the Production of
Contemporary Art Textile Works. Journal of Textile Design Research and Practice 7(1),
pp. 104–123. Available at:
P a g e 30 | 34https://www.tandfonline.com/doi/abs/10.1080/20511787.2019.1592358 [Accessed: 1
January 2025].
The Managed Heart : Commercialization of Human Feeling. [no date]. Available at:
https://eds.p.ebscohost.com/eds/ebookviewer/ebook/bmxlYmtfXzQ1MDEyM19fQU41?
sid=63fa9261-4d77-4dad-9d72-70b39a887062@redis&vid=0&format=EB&rid=2
[Accessed: 11 January 2025].
Who is Sheela Gowda? | Tate. [no date]. Available at:
https://www.tate.org.uk/art/artists/sheela-gowda-18148/who-is-sheela-gowda
[Accessed: 3 January 2025].
P a g e 31 | 34Bibliography
The Metropolitan Museum of Art, n.d. Mother and Child (The Oval Mirror). [online]
Available at: https://www.metmuseum.org/art/collection/search/10401 [Accessed 12
January 2025].
Francisco Goya, 1800. The Family of Charles IV. [online] Available at:
https://www.franciscogoya.com/the-family-of-charles-iv.jsp [Accessed 12 January
2025].
Guggenheim Museum, n.d. Woman on a Bridge #1 of 5: Tar Beach. [online] Available at:
https://www.guggenheim.org/artwork/3719 [Accessed 3 January 2025].
Ocula Magazine, 2015. Kyungah Ham: Conversations. [online] Available at:
https://ocula.com/magazine/conversations/kyungah-ham/ [Accessed 3 January 2025].
Artforum, 2003. Material Concern: The Art of Sheela Gowda. [online] Available at:
https://www.artforum.com/features/material-concern-the-art-of-sheela-gowda-
216448/ [Accessed 3 January 2025].
e-flux, 2015. Sheela Gowda. [online] Available at: https://www.e-
flux.com/announcements/32549/sheela-gowda/ [Accessed 3 January 2025].
Tate, n.d. Who is Sheela Gowda?. [online] Available at:
https://www.tate.org.uk/art/artists/sheela-gowda-18148/who-is-sheela-gowda
[Accessed 3 January 2025].
White Cube, 2002. Grater Divide. [online] Available at:
https://www.whitecube.com/gallery-exhibitions/grater-divide [Accessed 3 January
2025].
JSTOR, 1999. [Untitled]. [online] Available at:
https://www.jstor.org/stable/1181139?seq=1 [Accessed 3 January 2025].
Pace Gallery, 2018. Ham Kyungah. [online] Available at:
https://www.pacegallery.com/exhibitions/ham-kyungah/ [Accessed 3 January 2025].
Asia Society, n.d. Kyungah Ham. [online] Available at:
https://asiasociety.org/triennial/artist/kyungah-ham [Accessed 3 January 2025].
Kukje Gallery, n.d. Kyungah Ham. [online] Available at:
https://www.kukjegallery.com/artists/view?seq=336 [Accessed 3 January 2025].
Millington, Ruth, n.d. Caroline Walker: Women’s Work. [online] Available at:
https://ruthmillington.co.uk/caroline-walker-womens-work/ [Accessed 9 January 2025].
P a g e 32 | 34Fabrics Store, n.d. Caroline Walker: The Female Gaze. [online] Available at:
https://blog.fabrics-store.com/2019/10/27/caroline-walker-the-female-gaze/ [Accessed
9 January 2025].
Moloney, Kate, n.d. Analysis of Louise Bourgeois Sculpture Series Maman. Medium.
[online] Available at: https://medium.com/@katemoloney42/analysis-of-louise-
bourgeois-sculpture-series-maman-814918e8f5e8 [Accessed 9 January 2025].
Artland Magazine, n.d. Female Iconoclasts: Louise Bourgeois. [online] Available at:
https://magazine.artland.com/female-iconoclasts-louise-bourgeois/ [Accessed 9
January 2025].
Kavanaugh, Patrick, n.d. Rereading The Woman Born: Motherhood as Experience and
Institution. Ploughshares Blog. [online] Available at: https://pshares.org/blog/rereading-
of-woman-born-motherhood-as-experience-and-institution/ [Accessed 9 January
2025].
Smarthistory, n.d. Mary Kelly’s Post-Partum Document. [online] Available at:
https://smarthistory.org/mary-kelly-post-partum-document/ [Accessed 9 January
2025].
Kelly, Mary, n.d. Post-Partum Document. Google Books. [online] Available at:
https://books.google.ie/books?hl=en&lr=&id=aRYD3DCrE9cC&oi=fnd&pg=PR12&dq=M
ary+Kelleys+Post+Partum+Document&ots=Y4dHNjJliw&sig=huLkW9Bk_QIj59w3oVc_Q
Yl5wao&redir_esc=y [Accessed 9 January 2025].
Louise Bourgeois, n.d. Louise Bourgeois. Google Books. [online] Available at:
https://books.google.ie/books?hl=en&lr=&id=mK5xmLXez2IC&oi=fnd&pg=PP15&dq=lo
uise+bourgeois&ots=C5wckcIj2i&sig=okKwknewIwQ9mVeOMVCl45Gfhbw&redir_esc=y
[Accessed 9 January 2025].
Louise Bourgeois: The Spider, The Mistress and The Tangerine, n.d. Google Books.
[online] Available at:
https://books.google.ie/books?hl=en&lr=&id=3jZUEAAAQBAJ&oi=fnd&pg=PT12&dq=ab
out+louise+bourgeois&ots=5shK-
X3ua7&sig=dZ3Mrl9H2c7OwBoOHTyh5sX8BBg&redir_esc=y [Accessed 9 January
2025].
Guggenheim Museum, n.d. Maman. [online] Available at:
https://www.guggenheim.org/artwork/10856 [Accessed 9 January 2025].
Financial Times, n.d. Caroline Walker: Artist Interview. [online] Available at:
https://www.ft.com/content/04dd2331-529d-4633-8396-7b6075d2d0fc [Accessed 9
January 2025].
P a g e 33 | 34Stephen Friedman Gallery, n.d. Caroline Walker: Works. [online] Available at:
https://www.stephenfriedman.com/artists/81-caroline-walker/works/19383/ [Accessed
9 January 2025].
P a g e 34 | 34
Comments
Post a Comment