Contemporary Art Practice
Élodie Baldwin’s practice focuses on the haunting female spectre within Freudian theories, particularly responding to his essay “The Uncanny”. Using film and object-making to resurrect this uncanny feminine identity, she creates surreal films that set out to place the feminine spectre in the forefront of her work and challenges the historical identity of femininity represented in cinema. Élodie has always been drawn to the surreal and the mysterious and represents this with objects in stop motion as a vehicle to tell a story.
Her most recent film explores this theme of monstrous femininity, which stemmed from an interest in Medusa and her representations throughout history, she wanted to celebrate her heritage of being a half Iraqi woman and looking into the Middle Eastern myth of Shahmaran, a half-snake, half-woman creature.
The story has many different renditions and is often told differently from person to person and depending on which region in the Middle East. She is traditionally used in imagery such as jewellery and paintings hung in houses, as it’s believed that Shahmaran’s image protects your home from the evil eye. Baldwin wanted to take this idea of myth spreading from word of mouth, as an opportunity to insert her own imagination and ‘facts’ into this myth, keeping alive a dying story
Reflections of a Violin
You don't have to be a house to be haunted
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