(M)othered Meat by Kara Inez
Kara Inez’s first solo exhibition, “(M)othered Meat” opened on the 14th of July at The Backroom KL, a staple tenant of the Zhongshan Building in one of downtown KL's creative enclaves. The MFA student is one of the brightest emerging young artists assuming the mantle to perpetuate the century-long initiative in seach of long overdue respect for women in the fields of visual and performing arts parallel to heightening public awareness to women’s unique issues. This survey of Kara’s recent work, including pieces from her MFA portfolio, runs until the 30th of July.
Inez intentionally makes uncomfortable artworks that challenge societal norms, most notably certain women's body parts and their functions, concepts surrounding beauty, and vain attempts to doll up one’s natural appearance through fashion accessories. 'Grotesque' and 'abject' are terms frequently used by the artist to describe her own work. They’re not remotely as cringeworthy as, say, early Carollee Schneemann, Kiki Smith or Jenny Saville, but Inez’s work clearly follows in a similar genre.
The ‘historical’ roles of women are well-documented, as is the oft-warped 'reality' of beauty coupled with the perpetually demeaning social gaze from both men and competitive women. What women do for themselves and others in public and private is scrutinized far more than their male counterparts. Decades of self-deprecating depictions of female forms and the ill-conceived glorification of fashionistas as the most legitimate arbiters of taste, value and social progress have rarely helped the cause, except of course when exposed and opposed through art as detrimental to the cause. That is precisely where Inez excels. Despite the odds, she continues the work of a long procession of female artists who’ve been repeatedly compelled to refocus attention back on the specific needs of women despite being criticized at several points in history as objectionable and far outside the art world’s comfort zone, let alone the general public in some societies.
Currently completing her MFA in Melbourne, Australia, Inez’s silicon and dye representations of female flesh are not newcomers to the SE Asian art scene, having previously been included in several important collectives and fairs in Singapore and Malaysian over the past few years.
Inez’s works are as much installations or assemblages as they are sculptures. Although small, they require space around them to circle and engage from several angles. Unfortunately, some of the silicone pieces were disempowered by being placed in corners or laid against walls either directly on the floor or atop found objects used as makeshift plinths. Low wooden tables, an upside-down oven pan, and an antique chair are used in part to frame and contextualize some of the stories. Nevertheless, hovering from above to peer down upon detailed 3D objects feels somewhat like flicking into indoor-drone mode. It’s not ideal, especially since the impact of these works undoubtedly lies in the intricate features. For example, from normal, upright viewing distance the butt plug is all but lost in a work titled “Bum Bug.” In a piece titled “Milk Vessels,” Kara places silicone nipples on top of found porcelain vases in a blunt portrayal of one of women’s roles, accepted or otherwise. From above, it was difficult to tell if they were the hairy ones from previous shows. This is not to criticize the strong messaging, rather, it's worth noting that the impact of the pieces when viewed from several feet above them is potentially lost as the identity of the silicone tops is difficult to ascertain for anyone previously unfamiliar with one of Kara’s frequent motifs.
The concept of women-specific issues can be a lightning rod, with many feeling that the most pressing concerns are neither the female body nor its depiction in society, rather it's the still-unsolved concerns over income inequality, women’s reproductive rights, and unbalanced social/career opportunities that tend to dominate most discussions. Nevertheless, the spotlight on any women’s issue must never be extinguished, and Kara Inez will undoubtedly be playing an important role to that end through her art for many years to come.
Like the forerunners of “grotesque” female art since the mid-20th century, Kara Inez has created an unabashed and uncomfortable show. Message taken, but it also works as an important body of visual art beyond the socio-sexual female discourse. The pieces are sharp and impactful. Nothing is hidden, nor is anything taken for granted or implied without a stark visual reminder. Any artist that makes the viewer FEEL the work—whether zooming in for a closer look or quickly turning away—has already succeeded. I would have no problem recommending any of of these works for astute contemporary collections as well as a grandmother’s fireplace mantel or a young woman’s collectible corner.
"Sp-Lit" Mixed Media 2023Regarding the venue, The Backroom KL has earned its reputation as a wonderful initiative of like-minded creatives in the heart of KL. The program is always innovative and frequently provocative. They actively support emerging artists by giving them opportunities and space to exhibit their artworks. The public exhibition area itself is limited, but the organizers and artists do a fine job by limiting the quantity and proportions of works during any given exhibition. Despite the tight dimensions, Backroom opening shows are always worth the visit.
For more information about Kara Inez or her solo show, please contact the The Backroom Gallery directly.
All Artworks © Kara Inez, Images: Artfronts