Cocksure by Rachael House opens Thursday May 10th 6-9pm.
This solo exhibition will feature a brand new body of work by Rachael House. We look forward to welcoming you to the opening night or over the duration of the exhibition which continues to May 31st. House has created exciting, desirable ceramics and zines that use printmaking techniques as a secure and tactile device to communicate her compelling concerns.
Image by Rachael House 2018
This beautiful new zine, Cocksure, will be accompanying the exhibition of the same name by Rachael House in May. The zine has responses to Rachael's work from the very generous contributors Annie Whiles, Stephen Nelson, Jordan McKenzie, Pauline Wood, Bren O'Callaghan, Flo Brooks, Sally O'Reilly, Sophie Persson, Alexander Small, Lucy Robinson and Adam Ross.
A copy of this zine has recently been purchased at the Glasgow Zine Fest 2018 by the Wellcome Library.
Image by Rachael House 2018
Rachael House’s work reimagines the power of our bodies symbolically, physically in public and in the everyday domestic. Her pieces displace fertility and reproduction as the site of power, building inclusive and intersectional extensions to constructs of femininity and masculinity.
This collection is symbolic, but made physical, tangible, playful, and above all croneful – uncanny and unsettling. The phallus is not just a symbol of power innately, as Rachael’s piece 3 totems shows we have the power to remake the phallus on our own terms and for our own purposes.
If the crone body makes society uncomfortable, then House let’s us spread that discomfort, joyfully and powerfully. She lets us infect the public and the private with the awkwardness of our bodies. We are all, afterall, ‘patchworks of clay’, and through House’s work we can mould that clay to our own will, using our own hands.
Her work on the cunning crone moves womanhood beyond reproduction. House celebrates the crone’s cunning power. When engaging with House’s pieces I am particularly struck by Chaucer’s ‘queynte ‘as a powerful cunning sexual organ, that can subvert sexual value and hierarchy. As the Cunny Mirror shows, we can reject the male gaze, and transgress women’s role as ‘decoration’. The Cunny Mirror shows us our own power, refracted to the world beyond us through our crone cunning. In the process we can re-show ourselves to each other, when formed as tiles and totems the domestic space becomes a cunning space.
‘Words fail me’ is a piece that feels particularly resonant in the wake of the disclosures around everyday sexual violence (#metoo). House has produced a series of objects of physical and symbolic resistance. These are not the knuckle-dusters that we might associate with gang fights and football hooligans. These are the tools for the daily struggle against patriarchy, words are not enough when confronted with economic, social, political inequality and sexual violence. The pieces acknowledge the violence displayed against women, politically, publically, and at a daily level. But rather than presenting women as passive ‘victims’ of male violence, we can be forearmed, with our sisterhood as our weapon. Similarly, ‘a gentler phallus (with bunny ears)’ reminds us of male victims of sexual violence as well as men’s role in challenging violence against women.
House tools us with pleasure, and kindness, in order to claim the symbolic and physical space we fill. She cuts across material, genres and heritages, moving between the DIY zine, the conceptual object, the performed self and curated spaces.