S E L E C T E D . V I S U A L . W O R K

Embyoworld | Part 1: Wall of Embryos
Embryoworld l997-98, University of Maryland; SUNY, Old Westbury. A three-part installation addressing the new assisted reproduction and biotechnologies. This work uses various visual strategies to probe the deeper cultural and spiritual meanings inherent in the creation of new flesh, and the re-generation of the body in the cybercosmos. Part 1 is arranged in cell-like groupings.

Embyoworld | Part 2: Pedigree Wall
Consists of framed, certificate-like detourned (with drawing and text) actual sperm donor profiles and sperm donor fitness tests obtained from fertility clinics.
Embyoworld | Part 3: Body and Soul
A sculpture based on a common cemetery image of urns with drapery flowing from them which signifies the soul leaving the body. Here, two chemistry vessels--one filled with red, the other with green ink--are connected by a filmy white cloth, that slowly seeps up the colors through capillary action, which creates beautiful, unpredictable stains on the cloth.

Womb Room
1996, "Division of Labor: Women's Work in Contemporary Art, Bronx Museum, NY, & Museum of Contemporary Art, Los Angeles.

Wall of Wounds
1996, "Feminist Directions", UC Riverside, CA. Installation of l00 6" x 6" Rorschach print and painted "wounds", titled and signed. This piece was an ironic comment on our public victim culture where each person is eager to proclaim h/er own wound. Each wound is thus titled: phallic wound, empathic wound, sexual wound, political wound, psychic wound, etc.

Battle Dresses
l995-97, "Terra Firma", Univ. of Maryland. Ink and watercolor on vellum, 75" x 25". Dedicated to the women raped in the former Yugoslavia.
War Subjects
1995-96, "Feminist Directions", UC Riverside, CA. Large ink and water color drawings (75" x 50") The recombined war body of melancholic historical fragments.
1992-96, Drawing Center, NYC, and other locations. Xerox collage, pen and ink, watercolor. 12" x 9". Fluid convergences of machines, animals, plants, and humans, in monstrous cyborg bodies.
1990-93 Exhibited at various locations, New York City. Large-scale drawings and watercolors (75" x 50") exploring the psychosexual relations of parents and children.
Daily Text
1986-89. Printmaking Workshop, NYC, and various locations. Series of 200 drawings and 8 etchings, 12" x 9". An investigation of psychosexual fantasies, experiences, and desires.
1983. Long Beach Museum of Art, CA, "At Home" exhibition. Installation of paintings, drawings, and artist books:

1) Bestiary four emblematic acrylic paintings, 75" x 50".

2) Sybil's Leaves A collaborative installation of 100 "leaves" sent by participants all over the world.

3) The Book of Hildegard Artist book with texts and images recombined from the work of 11th century abbess Hildegard von Bingen.
1971-72. Landmark collaborative feminist installation in a house in Hollywood, by Feminist Art Program at California Institute of the Arts. Womanhouse examined and commented on the content, forms, and history of gender roles and of women's maintenance work in the home; and delved into the complex dynamics and relations that have constituted women's separate sphere in the division of labor.
1971. Room-size installation at the Feminist Art Program studio in Fresno, CA. Cast life-size figure, cow guts and blood, dead bird, kotex, plastic flowers, candles. Participants were invited to light candles on the altar.

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