Reproduced from The Wheeler Centre, with permission.
IVF has a tense relationship with religion, a murky relationship with commerce and a confusing relationship with feminism. Thousands of Australian women undergo IVF each year so why, asks Angela Savage, is IVF a subject that is rarely broached in art?
In a gallery overlooking Melbourne’s King Street, artist Heidi Holmes has decorated the upper half of the walls with 20,000 pressed hydrangeas. She’s painted the lower half in a shade called Silver Smoke. From a distance, the blossoms rise like a cloud of butterflies, but up close you can see that each flower has been nailed in place, the nails sticking out like pins. In one corner sits a glass vase containing another 20,000 pressed hydrangeas, a potpourri scented with baby powder. The whole room smells of it. For all the work’s apparent prettiness, there’s a disturbing sense of decay. ‘It’s like a torture chamber I’ve made myself,’ Holmes says.
The artwork, entitled Control yourself (even if you feel dead inside, hurt and barren), explores Holmes’s ongoing experience of what she calls ‘baby-making, failing fertility and the resulting process of In Vitro Fertilisation (IVF).’ It took a year for her to press all the flowers, and 150 hours to install the work with the help of her husband. Time-consuming, labour-intensive, collaborative and ephemeral, the work poignantly reflects Holmes’s IVF experience.
‘There’s all this effort of work and labour that has no end, because there’s still no baby. Just this grief and loneliness.’
Control yourself is Holmes’s second work to explore her IVF experience. In her 2015 piece, I am woman, hear me roar as I push out this Science Baby, she transformed a decommissioned transvaginal ultrasound machine – ‘old, like me,’ says the 39-year-old – into a water feature, installing it in a pond liner and surrounding it with water-plants. Holmes laced the water with the same ovary stimulating hormone she was injecting into herself at the time. The plants withered.
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