Hannah Silcock, The Euphoria of Carnage, Photography and digital art, sculpture, 2023
‘The LORD God took the man and put him in the Garden of Eden to work it.’ (Genesis 2)
An ecosystem complacent within itself, safe in absurdity but incompatible with its environment. Womankind is warped by the genre of its own species, keen but defensive. This carnivorous landscape of women is a battleground bent on resolution through relational aggression - the poetic tragedy of a stigmatized race. Meddled with by masculine discourse, Eden becomes immaterial. Rather, a tangible discomfort in obnoxious alien-like inhabitants argue with the natural world. Overstimulated - euphoric; divorced from nature.
This work attributes conflict within the female community to the nature of its historical misfortune. It does however, move the responsibility of the ‘aggressor’ over to women - delving into the microcosm of feminine conflict independent of male influence.
A woman’s weapon is the creation of conflict. This work urges women not to use the ‘dilemma’ as a motion for conflict but to rise above decadent pretty violence. Ultimately the intersectional dialogue between the divided, mutated, and mutilated deconstructs the complex nature of female antagonism. The viewer is lured in by the sensual facade, but begged to examine the vile predators within. Deconstruction in the grand narrative of humanities politics is the embrace of reconstruction.
