THE WOODMANS beautifully interweaves the young artist’s work (including experimental videos and diary passages) with interviews with the parents who have nurtured her professional reputation these past 30 years, while continuing to make art of their own in the face of tragedy
What happens when woman finds herself in the empty space between the signs symbolized by the gaze and her objectified image? How are the conditions of her visibility produced, then? Following a path through eccentric subjectivity, gender theory, semiotics and psychoanalysis, I’d like to argue about the several repercussions of the collusion between Surrealist practices and the negotiation of theoretical models of female subjectivity in the work of Francesca Woodman, a photographer whose largest body of work was produced in the late Seventies. Working with self-portraits, fantastical representations of the body, and even depictions of the absence of the body, Woodman expanded the exploration begun during Surrealism to express female subjectivity through hybridization, fetishization, and displacement of self.