The Theatre of Violence: Exploring Spectacle and Disruption Through Embodiment and Interference (2023).
This practice-led research project explores the international crisis of gender-based violence and public fascination with violent crimes in popular culture. Motivated by lived experience and professional practice as a trauma-informed social worker, this project poses a critique of the media, health and criminal justice systems in perpetuating rape culture, silencing victim-survivors and failing to hold perpetrators to account. In the spirit of trail-blazing feminist artists, Drey utilised performative actions and experimental printmaking to disrupt, while investigating a somatic experience of the impact of trauma on mind, brain and body. This project was developed for Drey's 2023 Honours project at RMIT University and is accompanied by a written exegesis.
When I started this project, I posed the question of how performative disruption creates an opportunity for reflexivity in those who encounter the work. I am frustrated at the ever-stable statistics surrounding violence against women. I want the patriarchal mainframe that dictates ‘acceptable’ gendered behaviour to be dismantled. I yearn for a strong and consistent systematic approach to reducing gender-based violence in Australia. I believe that is possible; however, I believe it will only be possible when people refuse to become silent witnesses, accomplices or followers, while gaining the indirect benefits of colluding with a corrupt system (Herman 2023). The audience response to the Tread Underfoot and Living Paintbrush I-IV installation revealed the power of stimulating dialogue when presented with the invitation to participate in a symbolic act of violence. Rather than feeling disheartened by the malice of human nature, as seen in Cut Piece, [Ono 1964], and Rhythm 0, [Abramović 1974], I felt optimistic at the considered debate that erupted amongst audience members. Indeed, this is a small-scale sample size of my Honours peers and lecturers; however, I feel emboldened to continue this work where audience engagement and discussion completes the artwork. Therefore, this is not so much a conclusion but the beginning of the next phase.
‘Every revolution was impossible until it happened, then it became inevitable’ (Sachs 2009:166).
*Extract from exegesis: Drey Willows 'The Theatre of Violence: Exploring Spectacle and Disruption Through Embodiment and Interference' (2023).
References:
Herman J (2023) Truth and Repair: How Trauma Survivors Envision Justice, Basic Books, New York.
Sachs A (2009) The Strange Alchemy of Life and Law, Oxford University Press, Oxford.
Exhibited:
Fine Art Honours, Photography, Masters of Fine Art and Art in a Public Space Graduate Exhibition (2023) RMIT University School of Art Melbourne VIC