Cette recherche se propose d’aborder la façon dont les créatrices oeuvrent dans le champ de la sculpture depuis 1950. Quelle que soit la multiplicité des voies plastiques qu’elles ont choisies d’explorer, et des productions sculptées auxquelles elles ont donné naissance, il s’agit de saisir la teneur de la rencontre entre l’œuvre conçue par une femme sculpteur, et le regard extérieur. Cette rencontre marque la confrontation de deux mondes, celui de l’observateur, aux prises avec ses perceptions, offrant une interprétation et une lecture souvent orientée de la création, et celui de la femme qui sculpte, dont la forme édifiée est soumise aux jugements. Les décalages, voire même les incompréhensions générées par ces mises en perspective des œuvres sculpturales élaborées par des femmes aux yeux de l’extérieur, conduisent à s’interroger plus profondément sur le cheminement artistique, plastique et intellectuel des créatrices dans le champ de la sculpture. Quels sont les éléments matériels et symboliques qui les guident dans l’expérimentation de ce domaine plastique ? A quelles sources puisent-elles leur inspiration ? Que souhaitent-elles exprimer à travers leurs alternatives artistiques ? S’il est difficile de répondre à ces questionnements, ils permettent de pénétrer au cœur de la création, et notamment d’entrevoir ses processus. Bien que les sentiers artistiques parcourus par les femmes sculpteurs soient pluriels, il semble pourtant que certaines d’entre elles se sont particulièrement attachées à développer plus qu’un mode d’expression plastique, un langage, afin de dévoiler les vérités qui les habitent. Ce langage, dont elles connaissent les arcanes, repose sur la mise en forme de la matière textile, essentiellement à partir de deux principes constructeurs : le fil et l’aiguille. Au-delà d’une approche purement matériel, les femmes sculpteurs entrent en lien avec un territoire imaginaire, déployé dans les récits mythologiques sur le thème du tissage et les personnages qu’ils mettent en scène, tels Arachné, Pénélope, Clotho ou encore Atropos. Dans ces dimensions entrecroisées, mêlant l’intensité du travail créateur à partir du textile et le contact avec un univers symbolique, le tissage, les créatrices tracent un des chemins signifiants qu’elles empruntent dans le champ de la sculpture depuis 1950. / This research addresses the ways in which female artists have been working in the field of sculpture since 1950. Irrespective of the medium of expression they have chosen to explore, and of the works they have given rise to, the aim here is to understand the meeting between a work of art conceived by a female sculptor and the way in which it is viewed externally. This meeting marks the confrontation of two worlds: that of the observer − subject to his or her own perceptions and offering an often slanted interpretation and reading of the work − and that of the sculptress whose constructed work is subjected to judgement. The differences, and even misunderstandings, caused by these perspectives on sculptural works by women viewed externally lead to a deeper questioning of the artistic, material and intellectual routes followed by creative females in the area of sculpture. What are the material and symbolic elements that guide their searches in this art form? What are their sources of inspiration? What are they seeking to express via their artistic alternatives? Answering these questions may be difficult, but it can lead to the core of creation and, notably, to a perception of its processes. Although female sculptors have followed numerous paths, it nonetheless appears certain that some of them have striven to develop, over and above a physical mode of expression, a language that will reveal the truths within them. The expression of this language, of which they know the mysteries, is based on giving form to textile materials, using two principles of construction: needle and thread. Beyond a purely material approach, female sculptors come into contact with an imaginary territory of mythical tales that surround weaving, and the characters that people those tales such as Arachne, Penelope, Clotho or Atropos. In these inter-linked dimensions, where the intensity of working creatively with textiles melds with the contact with a world of symbols, weaving, creative women are continuing to trace out one of the significant paths they have been following in sculpture since 1950.

This paper examines the processes, materials, and influences of Karina Presttun, an artist who explores building abstract sculptures with twine made from second-hand fabrics. She discusses how her work aims to share emotions and visual experiences that do not translate well into text and how she has been inspired by fiber artists, basket makers, and music. She also reflects on the spiritual importance of craftsmanship, the risk of the academization of art, and using discarded materials to bring attention to the environmental impact of textile production. / <p>4 images removed: </p><p>Image 7.  Patford, Gemma (design), DIY Rope Bowl [vessel made from hand-painted rope], 2013, https://collectivegen.com/2013/07/diy-rope-bowl/, accessed 21 February 2023.</p><p><strong>Direct image link: https://collectivegen.com/wp-content/uploads/2013/07/diy-rope-bowl-a-pair-and-a-spare-201-778x519.jpg</strong></p><p>---</p><p>Image 19. Hopkins, Jan, Comtemplation, [sculpture made from agave leaves, yellow cedar bark &amp; waxed linen], private collection, 2004, http://janhopkinsart.blogspot.com/p/fade-to-light-dimensions-19-12x14x9.html, accessed 21 February 2023.</p><p><strong>Direct image link: http://4.bp.blogspot.com/-oL_xzFstShg/UG9iiS-MNlI/AAAAAAAACIo/H_AgdTOeeQ0/s1600/contemplation_front_www.jpg</strong></p><p></p><p>Image 20. Grey, Alex, Dissectional Art for Tool’s Lateralus CD [ink on paper &amp; acrylic on acetate], 2001, https://www.alexgrey.com/art/tool/dissectional-art-for-tools-lateralus-cd, accessed 21 February 2023.</p><p><strong>Direct image link: https://www.alexgrey.com/art-images/tool-dissectional-alex-grey-watermarked.jpg</strong></p><p>---</p><p>Image 22. Jacobs, Ferne, Figure/Head, [object made from coiled and twined waxed linen thread], 2020, https://www.craftinamerica.org/blog/building-the-essentials-ferne-jacobs-4-2-2022-6-18-2022/, accessed 21 February 2</p><p><strong>Direct image link: https://www.craftinamerica.org/wp-content/uploads/2022/04/IMG_5016edit.jpg</strong></p><p></p>

I’m interested in the way we stage our identity through objects. How objects relate to identity and body. I have been looking into how the self conception and creation of identity is affected by living in an individualistic, capitalistic and mass medial time. I carry a question, how much of the self is really just a replica of a replica? In this essay I discuss how the consumption of different kinds of media gives us knowledge and experiences of the world that is secondary. I explain how I experience that social media creates a thinking where I’m looking at my self from the outside and that this thinking makes my experiences indirect. I look at the individualization of the society and how I think the individualization affects the way we create collective and individual identities. Furthermore, I discuss how object become signifiers of identity and how we, within the consumer society, consume signs rather than objects. I look at the home, as a keeper of identity and memory, I also resemble the home with an organism where the human body only become a part of a bigger body. I discuss how body and object are intertwined both mentally and physically. Jewellery art and corpus is located between art and utility objects, my field gives me the opportunity to discuss the symbolism of the objects we surround ourselves with. In this essay I give a summary of my thinking around materials, methods and sources of inspiration in my work with Replika på replika. I go through my thinking around padded textile objects, the colour pink, the use of aluminium and how I work with reflection and figurative painting. I connect my work with my thoughts on caricatures, cartoons, pop musicians ways of working with characters and to art within different fields.