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Collection

An image of from the Eel series, Rome by Francesca Woodman

Francesca Woodman

(United States of America 1958 – 1981)

Title
from the Eel series, Rome
Year
1977-1978
Media category
Photograph
Materials used
gelatin silver photograph
Dimensions

15.2 x 14.9 cm image; 45.7 x 45.7 x 2.5 cm frame

Signature & date
Not signed. Not dated.
Credit
Alistair McAlpine Photography Fund 2005
Accession number
32.2005
Copyright
© George and Betty Woodman
Location
Not on display
Further information

Francesca Woodman’s theatrical critique of self forms part of a trajectory of recording space, gesture, temporality and the bodily form within a fictive field that is epitomised through the work of artists such as Claude Cahun or Ana Mendieta. Rather than portraying the self in the strict sense of self-portraiture, Woodman seemed more intrigued with the process of dissolving or deconstructing the self, the act of disappearance, effacing the process of what constitutes portraiture and what constitutes self. Her series of self-imagery commenced at the age of 14 and continued until her untimely death at 22 by which time she had produced approximately 500 works including an artist book titled ‘Some disordered interior geometries’ 1980. Rather than forming the body, Woodman seemed intrigued by the impact of the body in space and the idea of flattening the body to fit the paper.

Staging the libidinal desire of the female subject as fetish object, Woodman’s often nude body portrays the self as becoming: becoming space, wallpaper, an angel, sand, or sculptural form, and in the process of appearing, disappearing, fragmenting or decaying. This photograph ‘From the Eel series’, Rome shows the acephalic body of Woodman on a cold mosaic floor in a writhing motion as if in the mimetic action of becoming an eel. The figure slips in and out of register, forming and un-forming, on the verge of abstraction, but still bodily. The object of her apparent desire (or desirer) emanates from an enamel bowl, enhancing its phallic symbolism and evoking the eel as fertility symbol and slippery trickster. Woodman’s use of objects as metaphors (bones, fish, melons) employs the surrealist trope of signification to great effect.

© Art Gallery of New South Wales Photography Collection Handbook, 2007

Bibliography (1)

Donna Brett, Photography: Art Gallery of New South Wales Collection, 'The surreal aesthetic', pg.113-129, Sydney, 2007, 116 (illus.), 119, 129 (illus.).

Exhibition history (2)

The surreal aesthetic, Art Gallery of New South Wales, Sydney, 28 Jul 2007–14 Oct 2007

Joy before the object, Art Gallery of New South Wales, Sydney, 28 Sep 2013–02 Feb 2014