1973-
Sugar Bride
1973
'The Sugar Bride (Have your cake and eat it)' - Ingredients:
Pink iced dummy wedding cake, life casts and mixed media
on circular table. |
'Erotic
Wedding Cake' Directions: - Take a well-known, worn-out,
emotionally loaded icon and spice well. Ingredients:
Dummy wedding cake, life casts and mixed media served
on a circular table.
"On the one hand it is saying 'I am this woman who
is being opened up,' but it is also about the 'clichés'
of eroticism - the mouths, fingers etc…" From my Solo
Exhibition, 'Opening', Angela Flowers Gallery 1973.
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Penny and 'Erotic Wedding Cake' - published in Knave
Magazine 1973.
"It's the difference between incorporation and communion,"
Penny explains, "that's the whole paradox of eating
and eroticism. Its also to do with whether a woman
is a sex object, a tasty morsel - or whether she is
offering and taking something at the same time." Knave
Magazine, 1973.
- "Penelope Slinger's work is significant because it
consistently evades any superficial engagement with
eroticism: it is a serious exploration of the nature
of female sexuality, pursued by a woman.
- The
value of Penelope Slinger's work is that, through
the medium of visual arts, rather than that of science,
she begins to produce the specific evidence based
on anatomical, biological and cultural details. It
is pioneering and it parallels the writing of Juliet
Mitchell and Kate Millett, but what it has which they
do not always, is an insistence of specifics. The
price which Penelope Slinger pays for this is enormously
high. Essentially, it is her own self which is dissected,
analyzed, and displayed to her audience. This is a
terrifyingly courageous process. Like Freud's own
prolonged period of self-analysis, however, exceptionally
valuable discoveries of universal significance may
come of it."
Peter Fuller, 1973.
"She
started with imagery that was already a social cliché
accepted without question. But she cut it open in
front of us and the shock which we experienced was
the shock of recognition. We knew that the things
she put together belonged together, but it was a
knowledge we had tried to suppress."
Peter
Fuller, Connoisseur Magazine, 1974.
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