Bree Apperley

State(s) of Being  

The fact that women are still underrepresented in the art world of today is  such a disappointment. I wish I could say it is also a surprise. Much like the  civil rights movement of the 60s, after the height of the women’s movement  and the institutional respect and acceptance of feminist art during the  1970s, as a culture we had the hand-wiping attitude of a problem that had  been solved. But not so. As with the BLM movement, the COVID pandemic  revealed that not much had really changed within the gendered  expectations and experiences of our society. Although the workforce  included a greater number of women than in decades past, with most  working full-time, women were still, for the most part, responsible for  household and childcare duties. 

The pandemic removed the illusion of independent, self-sufficient, career driven womanhood by revealing the weight of all the myriad home-life  related chores that had been outsourced to other less-privileged women.  The same old sexist framework was still there all along, hidden beneath a  comfy padding of dollar bills. Outwardly, for a couple of decades, it truly  looked as though things had changed. A career and child both! A family and  a fulfilling job! We can have it all. Look how far we have come. The  unfortunate truth was that the mirage of freedom and equality was only  available because of paid additional support from other women. 

It is this hidden skeleton of disparity that the art world too, is built upon. The  social and political framework of capitalism favours a certain type of worker.  A hustler, a grinder, someone who is willing to go big or go home. The  system is built for making money, and the faster the better. Scale up. In  fact, things truly have been scaling up, even material things like houses,  cars, grocery stores, family vacations, post-secondary education. This is  where unregulated capitalism brings us, and it is unsustainable. 

What does this have to do with the art world? Well, like any other industry,  art is attached to a market, and as we know, the free market  prioritizes economic growth above all else. An artist who is also a mother is  in most cases working the ‘second shift’. That is, as detailed above, they  are most likely to be the ones in charge of the domestic sphere, including  the children. This reality does not jive well with a bombastic studio practice  built around a bohemian, foot-loose lifestyle, which is the antiquated myth  that still persists around the creation of artwork.

​Who are the ones who can more readily embody this ideal? Young men, or older men who have  remained in this role throughout their careers. There are exceptions to this  of course, but I am generalizing to make a point. It is a matter of time and focus, and any artist who is also a mother is in  short supply of these two essential ingredients. Who are the artists making  it to all the evening gallery openings and artist talks? The meeting and  greeting? Who are the artists with studio spaces separate from their homes  and stuffed full of work? Who are the artists with mentors? Someone who  looks like them? Where is the shop talk taking place? The evolving artistic  dialogue is not happening at the family dinner table or in bed before  storytime. Or with the other parents at school drop-off and pick-up. How  can you be in two places at once? It is hard to contort oneself to fit a mold  that is not designed for you. It takes extraordinary measures and a will of  steel to climb a man-made mountain. Mercifully, one of the defining  characteristics of an artist is someone who finds a way to be truly  themselves, bending the world to their inner compass, letting the world in  on how they see things, how things feel in their skin. This caveat to the  chimerical role in society of the capital ‘A’ artist may be the saving grace of  the profession.  

Thank goodness (goddess?) for the progressive thinking of those mothers  and artists who are able to find a way to create and be visible in the art  scene by bending the social strictures, shattering outdated myths, finding  loopholes and forging new paths. It takes exceptional strength of  determination and motivation to keep in the game and succeed. The  women chosen for the exhibition The State(s) of Being at the Lake Country  Art Gallery - Janine Hall, Joice M. Hall, Lindsay Lorraine, Mary Smith  McCulloch, and Rhonda Neufeld - have proven themselves to be artists  and mothers who are supernaturally spirited. They have decided to want  something for themselves and they are not afraid to take it. Culture and  society benefit from these women. We need their voices and their vision.  They are wanted and needed, not only by their children and family but by  their art community at large, and the world beyond. 

Bree Apperley is a Canadian mother, artist, designer and writer based in Syilx territory (Okanagan, B.C.). She holds degrees in both Fine Art and Design Art, from the Alberta College of Art + Design and Concordia University respectively. For more information about the author visit https://breeapperley.com/ and on instagram @fwuitbowl.