Beth Jackson and Kath Kerswell
A post feminist methodology might be defined as one which seeks an identity, not (as in a more traditional feminism) from within or behind paradigms that benefit men, but from those desires articulated through the technological accomplishment of woman/women. It is not that ourselves are repressed/oppressed behind a patriarchal/capitalist symbolic order, but that such an ordering distances us from the means to articulate a truth that resonates with satisfiable desires. The posthuman artist does not seek room to breathe beneath the walls of technology but strives to expand into the limitless expanse of technology: truth is what we are capable of making. In SHOUTING technological capacities, of the writer/mother/bureaucrat/artist, articulate a landscape of desire within a logic of difference.
Beneath the windows, two feet above the floor at Whitebox Gallery, objects of suburban desire achieved a public status equating with that which was ascribed by their original possessors. Kath Kerswell achieves this movement of status from private to public, from incoherent fetish to cohesive signifier, by deliberately abjectifying her work. Kath Kerswell's work consists in knitted backgrounds overlaid with jewellery, engraved signs writing the inanity of taboos on communicating with ourselves, articulating sensations that are, "I don't talk to myself as much anymore" "I don't talk to myself anymore" "I don't talk". These decoration-like suburban medals transform the found objects of children, objects inlaid with the value of a child's desires and consequently a parent's affections. Worked into jewellery the objects articulate a sacredness.
The way in which the composition of these artefacts (from time faded expeditions of long severed dependencies) is abjected to induce desire (a collective subjective manipulation) contrasts with the depictions of Beth Jackson's blocked/bursting/leaking body (physical