Featuring incredible works by Louise Bourgeois, Cindy Sherman and Harley Weir
whom Rocha often refers to in her work . Other artists, like Cork-born Dorothy Cross – creator of the cowhide stilettos – speak to Rocha’s Irish heritage, while the paintings by Cassi Namoda and Sian Costello of girls in diaphanous dresses carry echoes of her own silhouettes. The Gothic, art-filled Lismore Castle, aside from being a favourite haunt, also provides the perfect setting for the artworks, which are arranged as if in a dialogue in different rooms.
Here, Rocha talks about her attitude to curating, her ongoing love of Bourgeois, and her formative experiences with art and artists.Courtesy The Woodman Family Foundation and Marian Goodman Gallery. © Woodman Family Foundation /Laura Allsop: I was wondering if you could tell me a little bit about the very evocative title of the exhibition?
Simone Rocha: It’s an all-female show. And the artists that I picked, I feel a lot of their works are self-portraits. Even though they’re not self-portraits, I think you can really see the person behind each one. Behind their provocativeness, there’s also a slight sense of humour, almost like a dark humour running through. And I felt thatreally encapsulated this mix of different generations of women – dead, alive, young, old.
LA: A lot of the artists chosen use their bodies performatively, or treat the body very viscerally. What fascinated you about the way these women use the body?Sharna [Osborne ’s] work is a torso, Louise’s work is a Janus. It was going back to this idea of things being physical and tactile and seeing people look to the human body as a vocabulary. I found that really interesting and it was just something that I noticed as I was selecting; the female form naturally started working its way in. Even the fact that in Josiane’s video work, she’s always the subject, same with Cindy Sherman – it’s her physically taking on these other identities.
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