'torqued & tethered . . . .' and a long distance relationship

'torqued & tethered . . . ' (2013) ribbons, chicken wire and rocks.

One of the pieces that I am exhibiting in Attleboro Arts Museum next exhibit, 'A long Distance  elationship' is 'torqued & tethered ...' and so I thought it was an appropriate time to share her story

I wanted to show this piece in this exhibit about the Boston Marathon because it reflects the story and experiences of women runners up until quite recently. In 1966 "for a grown woman to run in public was quite outside the social norm.” 1.

1.Interview with Bobbi Gibb April 2011; www.billrodgersrunningcenter.com/inwibogi.html
When Bobbi Gibb jumped out of the bushes to join the 500 men runners during the 1966 Boston Marathon, many thought it was life threatening for a woman to run anything longer than 1.5 miles. Bobbi hid in the bushes because she was afraid of how people would respond if they discovered that she was a woman, fearful that she would be physically removed and/or arrested.


'torqued & tethered ...' speaks to the limitations, expectations and restrictions placed on women which can stunt a woman's growth;  physically, mentally and spiritually, impeding them from reaching their full potential. This was true with women's running, especially long distance running, until trailblazers like Bobbi Gibbs, Sara Mae Berman, Kathrine Switzer and many more.



'torqued & tethered . . .' is the first of my dress sculpture where I played with the scale and shape of the dress. For this piece the bodice is stunted, emaciated, twisted and tortured. The sculpture hangs by only one of the shoulder straps, the other strap sags, defeated, exhausted. The way the bodice hangs the viewer can see in, under and through her; all is exposed. Being white, there is the suggestion of seeing bone.

'torqued & tethered . . . ' at "forever & after"
at the SSAC

The skirt of the dress is created by ribbons that hang from the bottom of the bodice. These ribbons strain against the rocks which have hold the ribbons to the floor; grounding her, repressing her, when all she really wants to do is to fly, to be free.

'torqued & tethered . . .' behind 'metamorphosis . . . '

This sculpture speaks to the omnipresent and destructive messages directed at young
girls/women, from the media (TV, movie, advertisements, ...), society, many religions and possibly family. The dress is white to implying the many cultural traditions where a girl or woman wears a white dress that represents purity, goodness, respectability and virtue. Usually a white dress is worn for baptisms, first communions, confirmations, debutante cotillions, some graduations and, and of course, a white dress is worn in a traditional wedding.

Lady Forrest 1876, Victorian style dress

'torqued and tethered . . . ', for me, represents an innocent young spirit/girl who has been pinned down by rules, expectations, dogma and traditions and who has twisted and tortured herself trying to free herself and just be who is authentically is; she just wants to soar!!!








Exhibition: April 10th – May 5th, 2018
Opening Reception: Tuesday, April 10th, 7-9pm. This event will include a recognition ceremony that honors each exhibiting artist and exhibition partners. Free and open to all.
Reservations are requested, but not required, by Friday, April 6th. 

Telephone: 508-222-2644 x10 or email office@attleboroartsmuseum.org 

thank you for your interest and peace,

va