'Fiona Wallace’s interventions are subtle and subversive, but are inscribed in this same art history of struggles to obtain a voice. Epistemology of Women deploys the language of serenity and activism; a depiction of Virgin Mary on cloth is buttoned up with badges of the derogatory names women have been called. An ABC for misogynists consists of 26 life-size mono prints of women who are each linked to terms that are used in society to put women down or keep them in place. By stating the obvious that there is no link between the women and the derogatory terms, Wallace’s play with representation has the potential to —painfully— expose her viewers’ own sexism. Wallace’s art stands in the tradition of aesthetics that frame meaning of the art works through authorship, context and reception. By interacting with, and interviewing, participants and using their input in her art works, the artist not only creates her own art context and reception (her own voice), but also instigates a new, active counter-public to think about and act upon art and feminist issues. Wallace’s art works are frameworks in which storytelling takes place as activism — one of the most important characteristics of a contemporary art practice.'
 

Suzanne van Rossenberg is an artist, researcher and activist. 

'Fiona Wallace’s interventions are subtle and subversive, but are inscribed in this same art history of struggles to obtain a voice. Epistemology of Women deploys the language of serenity and activism; a depiction of Virgin Mary on cloth is buttoned up with badges of the derogatory names women have been called. An ABC for misogynists consists of 26 life-size mono prints of women who are each linked to terms that are used in society to put women down or keep them in place. By stating the obvious that there is no link between the women and the derogatory terms, Wallace’s play with representation has the potential to —painfully— expose her viewers’ own sexism. Wallace’s art stands in the tradition of aesthetics that frame meaning of the art works through authorship, context and reception. By interacting with, and interviewing, participants and using their input in her art works, the artist not only creates her own art context and reception (her own voice), but also instigates a new, active counter-public to think about and act upon art and feminist issues. Wallace’s art works are frameworks in which storytelling takes place as activism — one of the most important characteristics of a contemporary art practice.'

Suzanne van Rossenberg is an artist, researcher and activist. 

'Fiona Wallace’s interventions are subtle and subversive, but are inscribed in this same art history of struggles to obtain a voice. Epistemology of Women deploys the language of serenity and activism; a depiction of Virgin Mary on cloth is buttoned up with badges of the derogatory names women have been called. An ABC for misogynists consists of 26 life-size mono prints of women who are each linked to terms that are used in society to put women down or keep them in place. By stating the obvious that there is no link between the women and the derogatory terms, Wallace’s play with representation has the potential to —painfully— expose her viewers’ own sexism. Wallace’s art stands in the tradition of aesthetics that frame meaning of the art works through authorship, context and reception. By interacting with, and interviewing, participants and using their input in her art works, the artist not only creates her own art context and reception (her own voice), but also instigates a new, active counter-public to think about and act upon art and feminist issues. Wallace’s art works are frameworks in which storytelling takes place as activism — one of the most important characteristics of a contemporary art practice.'

Suzanne van Rossenberg is an artist, researcher and activist. 

'Fiona Wallace’s interventions are subtle and subversive, but are inscribed in this same art history of struggles to obtain a voice. Epistemology of Women deploys the language of serenity and activism; a depiction of Virgin Mary on cloth is buttoned up with badges of the derogatory names women have been called. An ABC for misogynists consists of 26 life-size mono prints of women who are each linked to terms that are used in society to put women down or keep them in place. By stating the obvious that there is no link between the women and the derogatory terms, Wallace’s play with representation has the potential to —painfully— expose her viewers’ own sexism. Wallace’s art stands in the tradition of aesthetics that frame meaning of the art works through authorship, context and reception. By interacting with, and interviewing, participants and using their input in her art works, the artist not only creates her own art context and reception (her own voice), but also instigates a new, active counter-public to think about and act upon art and feminist issues. Wallace’s art works are frameworks in which storytelling takes place as activism — one of the most important characteristics of a contemporary art practice.'

Suzanne van Rossenberg is an artist, researcher and activist. 

'Fiona Wallace’s interventions are subtle and subversive, but are inscribed in this same art history of struggles to obtain a voice. Epistemology of Women deploys the language of serenity and activism; a depiction of Virgin Mary on cloth is buttoned up with badges of the derogatory names women have been called. An ABC for misogynists consists of 26 life-size mono prints of women who are each linked to terms that are used in society to put women down or keep them in place. By stating the obvious that there is no link between the women and the derogatory terms, Wallace’s play with representation has the potential to —painfully— expose her viewers’ own sexism. Wallace’s art stands in the tradition of aesthetics that frame meaning of the art works through authorship, context and reception. By interacting with, and interviewing, participants and using their input in her art works, the artist not only creates her own art context and reception (her own voice), but also instigates a new, active counter-public to think about and act upon art and feminist issues. Wallace’s art works are frameworks in which storytelling takes place as activism — one of the most important characteristics of a contemporary art practice.'
 

Suzanne van Rossenberg is an artist, researcher and activist. 

'Fiona Wallace’s interventions are subtle and subversive, but are inscribed in this same art history of struggles to obtain a voice. Epistemology of Women deploys the language of serenity and activism; a depiction of Virgin Mary on cloth is buttoned up with badges of the derogatory names women have been called. An ABC for misogynists consists of 26 life-size mono prints of women who are each linked to terms that are used in society to put women down or keep them in place. By stating the obvious that there is no link between the women and the derogatory terms, Wallace’s play with representation has the potential to —painfully— expose her viewers’ own sexism. Wallace’s art stands in the tradition of aesthetics that frame meaning of the art works through authorship, context and reception. By interacting with, and interviewing, participants and using their input in her art works, the artist not only creates her own art context and reception (her own voice), but also instigates a new, active counter-public to think about and act upon art and feminist issues. Wallace’s art works are frameworks in which storytelling takes place as activism — one of the most important characteristics of a contemporary art practice.'
 

Suzanne van Rossenberg is an artist, researcher and activist.