The mother-daughter duo has worked to explore their personal relationship to feminisms of their time to create a site-specific installation. The mother, Rieneke, takes her impetus from Second Wave Feminism to deal with the female body, ideas of domesticity, and personal experience —but also by drawing from her later years, where she focused on postmodern theory to create sculptural works.
The exhibition is an installation of statues —of her own body —carved out of various types of stone, connecting the work to Lucy Lippard who said, “When women use their own bodies in their artwork, they are using themselves; a significant psychological factor converts these bodies or faces from object to subject.”
Daughter Frederique, meanwhile, expands the definition of her mother’s feminism as “she is fundamentally Rieneke’s proxy in the physical and behavioural sense”. Frederique departs from her mother’s sculptures as she “edits and reproduces the work, filling it up-to-date according to contemporary art standards”.
See the Goldsmithsgallery website for details.**
Frederique Pisuisse, ‘Soft day light – a clock ticks diligently into the mirror’ (2015). Installation view. Courtesy the artist.