SYDELLE MULLEN

My Womb: A Public Space


Linden Projects Space
16 February > 19 March 2023




My Womb: A Public Space is a new installation by Sydelle Mullen, an emerging Adelaide-based artist working in ceramics and textiles, whose practice addresses social issues around gender, reproductive rights, and the politics of the body. 

Informed by the pioneering and polemic feminist thought of the 1970s, Mullen’s approach is foregrounded by the artist’s own experience as a woman and a mother, creating works in which the personal and the political merge as one.   

In her latest work, My Womb: A Public Space, Mullen transforms the Linden Projects Space into a symbolic recreation of a womb-like environment, complete with biomorphic eggs punctured by coat hangers, cobweb-like crochet draped throughout the space, illuminated by a video of internal bodily footage recorded using a specialist medical camera. At once comforting and confronting, Mullen invites you to step into her womb, which here becomes a literal site of public participation, intervention, and activism.
 

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Please note > Linden Projects Space is not wheelchair accessible. We apologise for any inconvenience.

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IMAGE > [Top] Sydelle Mullen, Coat Hanger 1 (from Coat Hanger series), 2023, metal coat hanger and unfired clay, 22 x 40 x 15cm. Image courtesy of the artist.
IMAGE > Sydelle Mullen, WombRoom (after Faith Wilding) [detail], 2023, rope, string, video projection, 200 x 240 x 200cm. Image courtesy of the artist.




IMAGE > Sydelle Mullen, WombRoom (after Faith Wilding) [detail], 2023, rope, string, video projection, 200 x 240 x 200cm. Image courtesy of the artist.


Mullen’s installation takes its cue from Faith Wilding’s Crocheted Environment; a seminal work of feminist art first exhibited in 1972, the same year the Roe v. Wade case was fought in the U.S. Supreme Court. The case resulted in a landmark decision in favour of pro-abortion rights, but in 2022, the decision was overruled in an anachronistic reversal of feminine freedom. For Mullen, this annulment of women’s rights serves as testament to the ongoing policing, politicisation, and persecution of the feminine body.

By reimaging Faith Wilding’s historic example of feminist subversion, My Womb: A Public Space reignites the conversation, reminding us that, despite fifty years of social progress, the fight for freedom is far from over.




The reason I gravitate towards materials such as clay and textiles is because they connect me to childhood memories of play in the mud and sand, and the feeling of community when taught knitting, cross-stitching, and sewing with women in my family. Both these processes require a reciprocal relationship between material, process, and artist. The clay will allow my imprint if I am in tune enough to understand its limits. Textiles will reflect the tension and flow of each individual stitch I create. It is a relationship all about care, listening and connection.


Sydelle Mullen, 2023


IMAGE > Sydelle Mullen, Coat Hanger (from Coat Hanger series) [detail], 2023, metal coat hanger and unfired clay, 22 x 40 x 15cm. Image courtesy of the artist. Photograph: Shelley Xue.


Sydelle Mullen lives in Kirra Ung Dinga on Kaurna Yerta. She completed her Bachelor of contemporary art with honours at UNISA in 2021. She was then accepted into the Helpmann Graduate exhibition for her works titled “I shave the patriarchy from my head” and “Tug on my nipple hairs”. The work presented at Helpmann graduate exhibition won two prizes; the Helpmann Academy/ Linden New Art Award 2022 and the Bendigo Adelaide Bank Award 2022. She has since worked with two other artists in a collaborative show “Fragmentary: Reflections of self” at Collective Haunt in 2022. Her works are conceptualised through personal experience and feminist ideology.


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IMAGE > Portrait of Sydelle Mullen, 2022. Image courtesy of the artist.