Kitty Doomernik

The meaning of the woman and the feminine in the world is the main starting point for my work.

I assume that humanity cannot exist without the female and that women (can, want and must) use this knowledge consciously and unconsciously. I ask questions about these topics, and take care to think through my own role. In my vision the idea of the woman as a victim doesn’t exist in a general sense. As an individual she can be, or become, a victim. The women’s movement can create opportunities which allow individual women to change their own circumstances. A few decades after the second feminist wave, many women within the plastic arts, feel less need to defend their position than before. There is a growing appreciation for their work and they have access to every echelon of the plastic arts. 

However with the development of the image culture within the advertising and entertainment industry, the use of the woman as an icon is more intense and shameless then ever, even though there is no resistance of women to women assuming important roles. That is why the role of women within the world of plastic arts is very ambivalent. It is precisely this ambivalence that gives me an important source of inspiration. The discrepancy between my identity as a woman and as an artist, and the way I see others and myself, are the driving force of my work.

The work moves between the areas, which are often called “high” and “low” art, the area between on one side the accepted, elite museum art and on the other hand the artificial reality of the mass media. From here I am building my artistic commentary on the “condition humaine”.  I strive for an ironic, but loving approach and keep distance to moral patronizing. My analysis of the stories that touch me is sharp, but offered with humour and compassion. I weave new images and histories out of the loose threads.

Method

My collage work has mostly the shape of an image story; an image story that is not linear, but tells a story, that is not unambiguous, but gives space to the imagination.
I repeat the stories which touch me in my own way. Some irony and self-deprecation is necessary.

For my collage work I use my cutting archives, which I have collected over many years and which I replenish continuously.

The collages are made on existing objects, like sinks loads, plastic covers, plastic pack-size narrows, carpet books, baking shapes etc. Sometimes I use paper as a substrate and after that I make digital prints of the collages. The collaged objects are usually presented as an installation.