ANONYMOUS, WOMAN

With my work Anonymous, woman, I want to draw attention to the manifestation of women in public space, and their anonymity. Female sculptures in Reykjavík are mostly objectifications of women: woman at work, women with children, or goddesses. While some of the goddesses have names, they are nonetheless symbolic, not representative of any real woman.

Sculptures of women are thus generally representatives for a certain group, and it is important to memorialise their roles. Their anonymity is a useful reminder of gender inequality which still persists, reflecting the way that women are not honoured for their special contributions to society, nor identified by name.

Through this work I want to establish a new reality for the anonymous women of the past; for that purpose I borrow from the male statues their clothing and their overweening confidence. At the same time I recreate my role models and pose the question: Can women‘s reality possibly change, with new manifestations.

I considered the importance of having role models: it can be necessary to reflect oneself in others, in order to see one‘s own potential. I embarked on a study in search of answers, thought about the past, and decided to explore the role models that we see all around us in the city. I photographed all the sculptures that portray a female or male body. I went to the sites, analysed the sculptures in situ, and compared my findings with my own photographs, information on the artists, the subjects, names, and stories relating to the sculptures. This was a site-specific study and a photographic comparison. I found a total of twenty-five men identified by name, but only two women.

It is striking to see how few women are identified by name in the Reykjavík cityscape!

8 collage photographes inkjet printed in black and white. Pinned on a moss green painted cork. In front of the collages stands a 3d printed statue on a walnut pillar. I wanted to bring one of my collage to life by turning it into a physical form.