HOME & ART: CREATING, PERFORMING AND RESEARCHING HOME AT THE GEFFRYE MUSEUM

An artistic response to home and domesticity: creative collaboration, the home and artistic practice.

I spent a stimulating day spent last Friday at an excellent seminar organised by the Centre for Studies of Home and Queen Mary University London, hosted by the Geffrye Museum, discussing the role of art in the home. I was delighted to be invited to speak and to display the embroidered dusters from my Women & Domesticity project during the event. The collection of speakers was diverse and dynamic, providing a broad view and many points for discussion.

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ABSTRACT:
Women and domesticity – investigating common experiences and perspectives through creative collaboration. A collection of hand-embroidered dusters.

The goal of this project is to explore the common domestic experiences of the modern day woman within her home. It investigates underlying narratives by engaging the community in embroidering their personal perspectives onto a duster.

Traditional dusters were selected as a metaphor for domesticity because they are mundane, yet visually appealing in their brilliant bright yellow. Collectively they proclaim a multitude of opinions, stitched by hand with red thread to represent traditional women’s work and femininity.

The research reveals a broad scope of perspectives including fulfilment, resentment, nostalgia, and antipathy. Common underlying themes communicate a sense of invisibility, un-appreciation and boredom, but also of nurturing and necessity associated with quality of life in the home.

Domestic experience is common to us all; in the home we can research the life we live. ‘Researchers are in some ways always part of the lives and world they are researching’ (Pink 31). Each duster reflects personal contemplation inspired by the lengthy process of hand sewing, creating an artistic response that offers unique insight into modern day home life.

Bibliography:

Pink, Sarah. Situating Everyday Life. London: Sage Publications Ltd. 2012. Print.

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