angelica harris-faull | visual artist

Projects

An ongoing etching project.

 

What is the history of contraception? This project delves into many different points in history, from the Ancient Greeks and Romans, the European Middle Ages, 1970's India, and to the contemporary world, to find a vast range of remedies, inventions, objects and ideas about women's bodies and contraception.

 

This project has developed from personal experiences, through learning about one's sexuality - discovering the glow in the dark power of inserted IUD's that live under the skin on your arm, tentative converstions with lovers about condoms, the cost of the morning after pill, and the illogical sense of shame evoked when asking the pharmacist for the afore mentioned pill. It provides a loosely dotted path through past and present forms of contraception.

 

Women's bodies are legistlated, with governmental control on abortion and the availability of the morning after pill. Contraception is medical, a moral issue for some, a provider of freedom and choice, a negotiated pathway, a responsibility. It is a complex, evolving area.

 

Can you name these objects? What is contraception to you?

 

 

 

A History of Contraception (meandering), 2015.

motu.mordant - collaboration with artist, Hanah Williams

Motu.Mordant is a collaborative print/object/postal project between Adelaide artist's Hanah Williams (UniSA/ACArts) and Angelica Harris-Faull (UniSA/RMIT). Working together, they are investigating the Surrealist technique, Exquisite Corpse, though the characteristics of etching. Their project is a combination of spontaneity and chance imagery, along with considered writing sent to each other on a weekly basis.

Two residencies and Courses  -

 

In 2015 I participated in two anatomical sculpture and drawing courses at the Ruskin School of Art taught by, artist and anatomical sculptor, Eleanor Crook and, artist and anatomical lecturer, Dr Sarah Simblet. I then undertook two self devised drawing residency at La Specola wax anatomical collection, Florence, Italy and the Gordon Museum of Pathology, London. I was very lucky to access historical medical and wax anatomical collections and visit international museums and galleries. This project enabled me to develop traditional sculptural skills, anatomical knowledge and search further, through interacting with collections, into the question of what it is to be human, to be bound by an aging, altering form.

 

This project was supported by the Ian Potter Cultural Trust.