"CINDERELLA" MADE FOR MY DAUGHTER 28 YEARS AGO, WITH A BEAUTIFULLY EMBROIDERED FACE
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HEARTFELT DOLLS:
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CHAVONNE WAS A COMMISSION MADE FOR A FRIEND. IT IS THE POSTURE, CLOTHING AND ACCESSORIES WHICH GIVE THIS DOLL CHARACTER. THEY REVEAL THE ESSENCE OF THE RECIPIENT
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I recently read in a blog by Barb Kobe about her encounter with, and research into, dolls without faces.
Probably the most well known of these are Amish dolls.
The lack of facial features in most Amish dolls
reinforces the notion of equality in the human race;
follows the biblical edict to hold no graven images;
and encourages modesty and humility in children.
The Native American tribe, Haudenosaunee,
tell the legend of why their corn husk doll has no face.
The moral of this legend is that all are equal.
Ceramic dolls were first created in the Dominican Republic by Lilian Mere Lime.
She says that
when she had to add features to the doll’s face she was left with one dilemma:
how to represent every individual ethnicity of the Dominican culture in just one face?
So, she left a clean smooth surface
which represents in its own way every racial group,
indigenous, immigrants from different countries and all Dominicans worldwide.
Islam teaches that no believer should create images of living things.
This includes human beings.
So a series of dolls have been created that conform to Islamic teachings.
Barb Kobe concludes her blog entry by saying,
"It seems to me that the dolls without faces,
either found in the past or present,
have a specific purpose,
to be used as a plaything and model
that helps the adults to socialize and shape the children
into the beliefs and behaviors of specific culture."
I found myself agreeing and disagreeing with Barb simultaneously.
This encouraged me to reflect on my doll making
and to ask myself some probing questions.
Probably the most well known of these are Amish dolls.
The lack of facial features in most Amish dolls
reinforces the notion of equality in the human race;
follows the biblical edict to hold no graven images;
and encourages modesty and humility in children.
The Native American tribe, Haudenosaunee,
tell the legend of why their corn husk doll has no face.
The moral of this legend is that all are equal.
Ceramic dolls were first created in the Dominican Republic by Lilian Mere Lime.
She says that
when she had to add features to the doll’s face she was left with one dilemma:
how to represent every individual ethnicity of the Dominican culture in just one face?
So, she left a clean smooth surface
which represents in its own way every racial group,
indigenous, immigrants from different countries and all Dominicans worldwide.
Islam teaches that no believer should create images of living things.
This includes human beings.
So a series of dolls have been created that conform to Islamic teachings.
Barb Kobe concludes her blog entry by saying,
"It seems to me that the dolls without faces,
either found in the past or present,
have a specific purpose,
to be used as a plaything and model
that helps the adults to socialize and shape the children
into the beliefs and behaviors of specific culture."
I found myself agreeing and disagreeing with Barb simultaneously.
This encouraged me to reflect on my doll making
and to ask myself some probing questions.
How has my religious upbringing shaped my doll making?
How has my doll making challenged traditional Christian beliefs?
Who or what has changed?
How has my doll making challenged traditional Christian beliefs?
Who or what has changed?
THE CAREGIVERS
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Is there an over-arching theme in
my doll-making, such as equality or social justice? Does the process of creating dolls give me a voice that helps others? If I make dolls to fund raise for a cause, should I create what is in my heart, or what the buyer expects, e.g. pretty? How do people feel when they encounter my art dolls - confronted? empowered? Does a doll need a face to communicate with the maker or the viewer? |
BANDANNA CHIC
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THE BAG LADY: HOMELESSNESS AFFECTS US ALL
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Do the dolls I create reflect the human condition?
Are they restricted to the dilemmas of a white middle class, educated woman? Do series, such as The Heroine's Journey or Somedays, reflect the journey of every woman, regardless of ethnicity, education, religion of social status? Do dolls such as The Bag Lady and Interment draw our attention to the human and ecological problems confronting us? Are we ready to confront these issues? |
INTERMENT: WHO ARE THE GUARDIANS OF OUR EARTH?
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I create dolls as a means of coming
to know and understand myself. Do the dolls need a face for me to achieve some self-awareness? Is doll making a valid or relevant means to explore self image? How open am I to where the process takes me? How dependent am I on the response of the viewer? Is the process of doll making sufficient, or must the product stand alone? Do the dolls invite empathy or derision? Do they encourage a reaction or introspection? Do they reveal the essence of my self - at a specific time? Over time, have the dolls revealed change? |
Should a doll have a face?
Most of the dolls I create do not have traditional features.
Facial features may be absent,
or replaced with words or mirrors,
or masked with scarves,
or hidden by posture.
Many individual dolls or series of figurative textile sculptures focus on
telling a story;
or celebrating;
or presenting an attitude.
Others express emotion or desire;
or create awareness;
or ignore and challenge society's expectations.
Some have faces, whether traditional or not.
Others have no facial features but instead rely on
texture
or colour
or posture
or context.
Most of the dolls I create do not have traditional features.
Facial features may be absent,
or replaced with words or mirrors,
or masked with scarves,
or hidden by posture.
Many individual dolls or series of figurative textile sculptures focus on
telling a story;
or celebrating;
or presenting an attitude.
Others express emotion or desire;
or create awareness;
or ignore and challenge society's expectations.
Some have faces, whether traditional or not.
Others have no facial features but instead rely on
texture
or colour
or posture
or context.
DOLLS THAT TELL A STORY: FACE OFF
I love to create dolls in a series -
one doll introduces me to the personality of the next,
until the series comes to a natural ending.
These dolls tell a story:
some with a face, others without, some with both.
In Ice Palace (above) a series of 8 dolls tell a tale of invasion, mutation and re-population.
None of the dolls has a face.
Instead, this story relies on posture and colour.
The dolls are all made from a blue and white poly-cotton,
and interact with a nylon organza.
The Unemployment Blues (below) tell a very different story.
Not a fictional narrative
but an autobiographical account of one woman's experience as an unemployed person.
Here, facial expressions were integral to the narrative.
They are machine stitched without a pattern,
and with applique lips.
one doll introduces me to the personality of the next,
until the series comes to a natural ending.
These dolls tell a story:
some with a face, others without, some with both.
In Ice Palace (above) a series of 8 dolls tell a tale of invasion, mutation and re-population.
None of the dolls has a face.
Instead, this story relies on posture and colour.
The dolls are all made from a blue and white poly-cotton,
and interact with a nylon organza.
The Unemployment Blues (below) tell a very different story.
Not a fictional narrative
but an autobiographical account of one woman's experience as an unemployed person.
Here, facial expressions were integral to the narrative.
They are machine stitched without a pattern,
and with applique lips.
DOLLS THAT TELL A STORY: FACE ON
DOLLS THAT CELEBRATE: FACE OFF
When we celebrate, we use our entire bodies -
face, torso, limbs.
We assume postures which express our delight and happiness.
We tend to be more open.
The colours chosen for Troupe De Verde (above) are intentionally bright and joyful,
especially the lime green hair.
The minimal clothing, hand stitched and embellished vests, is equally bright.
The body postures are open and celebratory.
The trapeze from which the dolls swing also shimmer with light and colour.
The movement reigns supreme.
Faces would have been superfluous.
The Selfies (below) I created to celebrate aspects of my own self,
are a mixture of figures with facial features and some without.
Those with faces tend to be quizzical, perplexed, discombobulated.
Perhaps these states of mind can best be expressed through facial expression?
face, torso, limbs.
We assume postures which express our delight and happiness.
We tend to be more open.
The colours chosen for Troupe De Verde (above) are intentionally bright and joyful,
especially the lime green hair.
The minimal clothing, hand stitched and embellished vests, is equally bright.
The body postures are open and celebratory.
The trapeze from which the dolls swing also shimmer with light and colour.
The movement reigns supreme.
Faces would have been superfluous.
The Selfies (below) I created to celebrate aspects of my own self,
are a mixture of figures with facial features and some without.
Those with faces tend to be quizzical, perplexed, discombobulated.
Perhaps these states of mind can best be expressed through facial expression?
DOLLS THAT CELEBRATE: FACE ON
DOLLS WITH ATTITUDE: FACE OFF
The unadorned body is a wonderful vehicle to express an attitude.
We are not distracted by dress or facial expressions or accessories.
There is no denying the the figures in The Bare necessities (above left)
are comfortable in their own skin,
sassy,
with an attitude that says, 'Don't mess with me!'
The naked honesty of the figures in Stitch Yourself A Boyfriend (above right)
speak of men comfortable with the highs and lows of life.
Neither series needs facial features.
It is the body posture which speaks volumes.
Soul Sisters (below) were different.
They are soul singers.
Their voice is intrinsic to their music making.
So they needed a face and hair that expressed their vibrancy and uniqueness.
The nose is fashioned from the same faux fur fabric as the face.
The eyes and mouth are acrylic felt.
The eyelashes are fringed leather.
We are not distracted by dress or facial expressions or accessories.
There is no denying the the figures in The Bare necessities (above left)
are comfortable in their own skin,
sassy,
with an attitude that says, 'Don't mess with me!'
The naked honesty of the figures in Stitch Yourself A Boyfriend (above right)
speak of men comfortable with the highs and lows of life.
Neither series needs facial features.
It is the body posture which speaks volumes.
Soul Sisters (below) were different.
They are soul singers.
Their voice is intrinsic to their music making.
So they needed a face and hair that expressed their vibrancy and uniqueness.
The nose is fashioned from the same faux fur fabric as the face.
The eyes and mouth are acrylic felt.
The eyelashes are fringed leather.
DOLLS WITH ATTITUDE: FACE ON
DOLLS THAT EXPRESS EMOTION: FACE OFF
You Don't Need to Take It Like I Did (above)
is a plea for an end to domestic violence;
an exhortation for women to leave abusive situations;
a story of triumph and courage.
The colour, torn fabric and posture
trace a journey from submission to exultation.
The memory and pain are still there -
but hope reigns supreme.
We don't need to see her face.
We know how she feels.
Raw emotion.
The Dammit Doll (below) is an invitation to dissipate anger.
The cross facial expression is essential to this figure.
It encourages the viewer to relate;
to empathise;
to react;
to review one's life.
is a plea for an end to domestic violence;
an exhortation for women to leave abusive situations;
a story of triumph and courage.
The colour, torn fabric and posture
trace a journey from submission to exultation.
The memory and pain are still there -
but hope reigns supreme.
We don't need to see her face.
We know how she feels.
Raw emotion.
The Dammit Doll (below) is an invitation to dissipate anger.
The cross facial expression is essential to this figure.
It encourages the viewer to relate;
to empathise;
to react;
to review one's life.
DOLLS THAT EXPRESS EMOTION: FACE ON
DOLLS THAT EXPRESS DESIRE: FACE OFF
How do we express desire?
A desire to change?
A lust-fuelled desire?
A desire redolent with longing and yearning?
When are facial features necessary?
The Smiles Project (above) expresses desire through posture and colour.
Jubilation and restfulness.
Contemplation and provocation.
There is no need for facial features.
Whereas, Girl Reclining on a Sofa, (below) needed a voice, and therefore facial features.
She needed us to identify with
her ennui and indifference;
her abandonment and her desire.
A desire to change?
A lust-fuelled desire?
A desire redolent with longing and yearning?
When are facial features necessary?
The Smiles Project (above) expresses desire through posture and colour.
Jubilation and restfulness.
Contemplation and provocation.
There is no need for facial features.
Whereas, Girl Reclining on a Sofa, (below) needed a voice, and therefore facial features.
She needed us to identify with
her ennui and indifference;
her abandonment and her desire.
DOLLS THAT EXPRESS DESIRE: FACE ON
DOLLS THAT CREATE AWARENESS: FACE OFF
I am passionate about using the doll as a voice for those who cannot speak for themselves.
When my daughter and I put together an exhibition
to create awareness about Breast Cancer,
I made several dolls without facial features.
Hair Today (above left) needs no face.
Instead, it speaks volumes through the colour of the doll,
pink being the colour of Breast Cancer NZ.
The mirror and the wig are essential accessories
which highlight the issue of hair loss and self-image.
Just Checkin' (above right) is monochromatic and without facial features.
It is the posture of self-checking for breast lumps
that is the essence of this piece.
It challenges our complacency,
invites us to participate in this simple shower-time ritual.
Pearl and Glam at the Mammogram Slam (centre) is an invitation to laugh:-)
Women who have experienced a mammogram empathize immediately.
The elongated body parts (breasts), coupled with the chic outfits,
nullify the need for facial expression.
Emotions (below) are a rich mixture of facial expressions, gesture and posture.
A monochromatic use of bleached calico.
The facial expressions continue the monochromatic scheme,
but personalise the distorted figures.
Even though none of these textile sculptures use an expected human shape,
the faces and gestures lead us to assume they relate to our human nature.
When my daughter and I put together an exhibition
to create awareness about Breast Cancer,
I made several dolls without facial features.
Hair Today (above left) needs no face.
Instead, it speaks volumes through the colour of the doll,
pink being the colour of Breast Cancer NZ.
The mirror and the wig are essential accessories
which highlight the issue of hair loss and self-image.
Just Checkin' (above right) is monochromatic and without facial features.
It is the posture of self-checking for breast lumps
that is the essence of this piece.
It challenges our complacency,
invites us to participate in this simple shower-time ritual.
Pearl and Glam at the Mammogram Slam (centre) is an invitation to laugh:-)
Women who have experienced a mammogram empathize immediately.
The elongated body parts (breasts), coupled with the chic outfits,
nullify the need for facial expression.
Emotions (below) are a rich mixture of facial expressions, gesture and posture.
A monochromatic use of bleached calico.
The facial expressions continue the monochromatic scheme,
but personalise the distorted figures.
Even though none of these textile sculptures use an expected human shape,
the faces and gestures lead us to assume they relate to our human nature.
DOLLS THAT CREATE AWARENESS: FACE ON
DOLLS THAT CHALLENGE CONVENTIONS: FACE OFF
Art has an important role in challenging long-held beliefs and conventions;
breaking the rules to see if they are still relevant; and
ignoring societal and cultural expectations to see if the world will stop spinning.
I feel some of my dolls are a part of this role.
I have had mixed reactions to I Shall Wear Purple (above).
Naked.
No facial features.
Exaggerated and over-size body parts.
Exuberantly delighting in being an older woman.
Conventions which hide away old age, and demand an unrealistic body shape are challenged, overturned.
Sticks and Stones (below) is a series which explores bullying.
It demands we challenge this hidden plague which is so widely tolerated.
Not all the figures have facial features.
Those that do are not regular.
Instead they use geometric shapes, random stitches and distorted lines.
And yet we can relate to the message they convey.
This message is expressed once again through colour, shape
and minimal accessories, such as stones, sticks, mirror tiles and thread.
breaking the rules to see if they are still relevant; and
ignoring societal and cultural expectations to see if the world will stop spinning.
I feel some of my dolls are a part of this role.
I have had mixed reactions to I Shall Wear Purple (above).
Naked.
No facial features.
Exaggerated and over-size body parts.
Exuberantly delighting in being an older woman.
Conventions which hide away old age, and demand an unrealistic body shape are challenged, overturned.
Sticks and Stones (below) is a series which explores bullying.
It demands we challenge this hidden plague which is so widely tolerated.
Not all the figures have facial features.
Those that do are not regular.
Instead they use geometric shapes, random stitches and distorted lines.
And yet we can relate to the message they convey.
This message is expressed once again through colour, shape
and minimal accessories, such as stones, sticks, mirror tiles and thread.
DOLLS THAT CHALLENGE CONVENTIONS: FACE ON
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Barb Kobe asked the question:
Does a healing doll need a face? I would paraphrase that and ask, Does any doll need a face? I have created dolls with faces and without: face on and face off. Sometimes I have intentionally left the face off. This is an invitation for viewers to bring themselves to this doll: to interact and engage with it. Sometimes the doll has rejected all attempts to create a face. (yes the dolls do speak with me:-) Other times the face is the starting point - an expression, a tilt of the chin, a glint in the eye. Or I simply follow a pattern crafted by a gifted designer. Does a doll need a face? You decide. |
