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Page 176

Women Cinemakers meets

Romy Yedidia Lives and works in Amsterdam, The Netherlands

Coming from the visual arts background as well as architecture and design, I have been continuously investigating how the language of aesthetics is appropriated within the realm of gender-representation. Understanding the polarized dimensions of contemporary gender-politics and its impact in shaping socio-cultural environment, my artistic focus is directed towards examinations of power-plays of intimate and collective gender performativity and social construct around it. To understand what is oppressive, imposed, sanctioned or in some cases regressive within the gestures of the gender roles, one must first investigate intimate domains of identification, question personal convictions and reconcile individual discrepancies. Within my artistic practice, I explore the relations between architectural elements and the female body; questioning archetypes and symbols of material-bodily presence. Topics related to gender and cultural normative, social control and body representation, are intrinsic part of my conceptual artistic exploration. My observations on these matters are translated later into specific techniques and materials that are represented through architectural forms. As a methodology, I use my own body as material. I work with casts and moulds, in particular concrete and similar constructive materials, with an attempt to preserve shapes, states and positions of my body. The process of my work is a crucial part of the concept. Although, I work predominantly with rudimental materials such as concrete and metal, my work has a strong performative aspect, demanding direct personal engagement. I choose to endure bodily rites of passage through my work, in order to transform an abstract pain into a physical one. The pain as a sensation plays a crucial role in my artistic process. The pain that I can control or even enjoy, since I know that one is temporary in contrast to the former. Materialising this pain through the creative and performative process, the rites become a form of a protest and resistance. It is my way of exposing the rigid mould I allowed to be constructed around me, the rules that I bound myself to, and the standards that I was taught to respect. I continuously challenge these paradigms through my art practice, looking at space as a potential dialogue to defy gravity of social constructs. An interview by Francis L. Quettier

questions regarding your background. You have a solid

and Dora S. Tennant

formal training and after having attended Interior

womencinemaker@berlin.com

Architecture at Holon Institute of Technology in Israel, you received your BA in Architectural Design from the

Hello Romy and welcome to

: we would

like to introduce you to our readers with a couple of

Gerrit Rietveld Academie in Amsterdam. How did these experiences influence your evolution as an artist?

Profile for WomenCinemakers

WomenCinemakers // Special Edition, September 2018  

WomenCinemakers // Special Edition, September 2018  

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