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• W792812927 abstract "VIDEO WORKS BY CATHERINE ELWES AND DAVID CRITCHLEYCATHERINE ELWES: THERE IS A MYTHA woman's leftbreast. It fills the screen, leftto right, top to bottom. An extended nipple leads the composition, aureola shading offinto the skin above and below. Now the shadow of an arm crosses the expanse of skin, evoking a horror film cliche, for example in the opening scene of Halloween (1978): the shadow of a hand, soon followed by the hand itself clutching a kitchen knife, and the inevitable violent murder of a beautiful young woman. But it does not unfold that way. The hand and arm that now appear on-screen are tiny, with dimpled knuckles and short softfingers. They belong to a very young infant, its awkward movements accompanied by the sounds of the most basic, earliest bodily pleasures, an animal-like gurgling and snuffling. The child is nursing at the other, off-screen, breast. The small fingers of the fleshy hand push and flex with motions that seem out of control and reactive: the creature's attention is elsewhere. But gradually one's sense of the actions of the infant actions changes, as the plump little hand begins to appear possessive and grasping. There is no tenderness, no caress in the movements over and around the nipple. Rather, one sees in the gestures first familiarity, then jealous ownership, bringing to mind the concept of the 'good breast' and the 'bad breast' described by Melanie Klein as symbolic tokens of infant psychology.1 Pale watery drops form and trickle onto the baby's hand and arm. It is a messy business. A sudden jerk of the arm smooths away the crevices and wrinkles above the nipple and flicks the fluid from its tip. More pale milk is produced, wetting the folds of the tender wrist.The baby's hand, simultaneously proprietary, aggressive and erratic, seems almost to be trying to push the breast out of reach, to get rid of it. But to assign value to the actions, to see them as gestures, is to attribute intentionality. How can we justify not only ascribing intentions to the instinctual, reflexive behaviors of very early infancy, but also taking so uncharitable a view of a baby at the breast? The answer is that the license for this interpretation was given by the artist herself, who is also the nursing mother on screen, in a text that precedes the scene just described.Catherine Elwes's There is a Myth (1984) opens with a written description of a 'myth' in which sons kill the mothers who have given birth to them, out of a fear that a being who can create life can also destroy it. The text informs the viewer's perception of the scene that follows, heightening sensitivity to the possibility of aggression. We feel a sadistic undercurrent in the grappling hand movements, and also in the frustration one begins to hear in the snuffles, pants and gurgles that seem to match the infant's inability to shiftor in any way affect the statuesque, solid mound of the breast. The small hand pummels, pushes, punches, as the small voice lets out cries of anguish at his ineffectiveness and the limits of his power. When, now a fist, the hand buries itself in the softflesh, the image freezes, leaving no doubt about the interpretation of the child's savagery. The source of nourishment is also an impediment, a blockage, an object of derision. The bad breast.At the same time, this interpretation of the opening scene of this powerful work is overstated and unbalanced: right, but also wrong. Alongside and interwoven with a perception of the child's proprietary aggression is a sense of calm, of beauty and wonder at the process. The image is composed in an engaging range of tones between rose pink, Indian red, and sienna brown - an abstract visual delight. The thrust of the breast's protrusion, almost beyond the forward limits of the pictorial space, is an equal source of visual pleasure. The adventurousness of the image, its subversive assertiveness in exhibiting the forbidden, the undeniable erotic thrill and simultaneous sense of revulsion aroused by the sight of the lactating breast, along with one's awareness that it is the body of the artist herself on display, together form a powerful emotional force. …" @default.
• W792812927 created "2016-06-24" @default.
• W792812927 creator A5084551126 @default.
• W792812927 date "2013-04-01" @default.
• W792812927 modified "2023-09-26" @default.
• W792812927 title "Embedded Aggression Implied or Enacted" @default.
• W792812927 hasPublicationYear "2013" @default.
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