One day in the middle of October, I awoke from my nap to 5 missed calls from my father. He had informed me that he and mom had gone to the hospital, because she felt as though she may have been on the cusp of having a stroke or a heart attack. It felt as though my heart sank in my chest. Thankfully it was neither and was just a quite mundane diagnosis. The most recent show at NJCU, ‘A Health Survey’ deals with the relationships between individuals and the healthcare system specifically through the eyes of women. There are a multitude of diverse perspectives that cover many aspects of this broad concept. Christine DaCruz’s collection of works in this show illustrates her mental journey of dealing with not only her own health but that of her parents. A lot of the work is pictures of Christine herself embodying the aspects of different animals that are embroidered onto the photograph. DaCruz uses the iconography of animals to empower herself, in reaction to the discovery of her mother’s terminal illness.
Society traditionally excluded the medium of embroidery from attaining fine art status. This was a way of relegating female associated work to the status of “busy work”. In contemporary art spaces, embroidery has taken new life. Art journalist, Angie Kordic explains further “Ever since the feminist revolution, embroidery has been developing new forms and language, involving many artists and media in the process. Although as a crafts form, it still struggles to break free from stereotypes and prejudice, it is managing to present itself as a re-born technique which now incorporates different ways of creations and tackles contemporary topics.”. DaCruz's use of embroidery in a feints context is used as a tool of self love. The embroidered aspects of the self portraits express different aspects of Christine’s journey of self acceptance. On her Instagram she explains the metaphorical significance of each animal. In her piece ‘Eel’ she explains “ The eel spirit really resonates with me this time because of their ability to adapt, remain elusive and the unlimited possibilities for their transformation as they navigate their landscape.” (Kordic, 2016).
A piece that stuck out to me in particular was the uniquely stark ‘FEME-NINO”. In contrast to the other works displayed on the wall, there was a bold frailty that it proudly displayed. In comparison to her previous work that depicted bodies in a more classical style reminiscent of Maire Linwood, this is a jagged and raw representation of femininity. I recalled this passage from Kimberly Drew’s memoir ‘This Is What I Know About Art ‘, Drew recounts her time starting off as an assistant at a privately owned gallery “The Femme portraits were quite different from her earlier works, which were usually more representational. In each of these mosaic-like works, Thomas seemed to be pushing the limits of what her audience expected of her. Each canvas was a refusal of the way that she’d been known as an artist.” (Drew, 2016, p.47).
What I find refreshing about Christine’s work is that she feels free to express a certain positivity that feels refreshing in this current day and age. Bell Hooks in her essay ‘Love as the Practice of Freedom’ espouses “His words echo Martin Luther King's declaration, "I have decided to love," which also emphasizes choice. King believed that love is "ultimately the only answer" to the problems facing this nation and the entire planet. I share that belief and the conviction that it is in choosing love, and beginning with love as the ethical foundation for politics, that we are best positioned to transform society in ways that enhance the collective good.” (Hooks, 2006, p.244). Dacruz’s hope in the face of the many hardships of the world hold a certain stoic beauty emblematic of the human condition.
Drew, K. (2020, June 2). This is what I know about art. Penguin USA.
Kordic, A. (2016, January 5). Embroidery art : More and more common in contemporary expression. Widewalls. Retrieved December 1, 2021, from https://www.widewalls.ch/magazine/embroidery-art.
Hooks, B. (2006, May 12). "Love as the Practice of Freedom". In Outlaw culture: Resisting representations (p. 244). essay, Routledge.
DaCruz, C [@Christudo_Art], Photo of 'Eel', Instagram, Photographed by Christine DaCruz, 20 November. 2021, https://www.instagram.com/p/CWf8pYZrzri/
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