Walk through the exhibition and the inauguration of “The Mirror Between Us” at the Igreja de Sao Vicente in Evora, Portugal, posted on April 26, 2022

opening night at the Igreja de Sao Vicente, all installation images by Pedro Barral

The Mirror Between Us is an exhibition of performative photographs made by Sherry Wiggins and Luís Filipe Branco in the Alentejo region of Portugal between 2015 and 2019. The exhibit is installed in the Igreja de Sao Vicente in Evora, Portugal and will be on view April 16- June 4, 2022. This exhibition was curated and supported by Carolien van der Laan and Ludger van der Eerden, founders of the OBRAS Foundation and artist residency in Evoramonte, Portugal. The Municipality of Evora and Margarida Branco have provided the beautiful space in the church in the historic center of Evora. Andreia Vaz played her own composition on the violin, please look for the link to the video near the picture of her warming up on her violin.

Woman Standing, Still, Sherry Wiggins and Luís Filipe Branco, digital b&w print, 120 x 80 cm, 2015
Seat at Evoramonte, Sherry Wiggins and Luís Filipe Branco, digital color print, 80 x 120 cm, 2019
Woman in the Pego do Sino, Sherry Wiggins and Luís Filipe Branco, digital b&w print, 120 x 80 cm, 2016
Andreia Vaz warming up for her performance.

Andreia Vaz played her own composition at the inauguration, here is a link to the video of Andreia’s beautiful performance on my Facebook page, Pedro Barral made the video:

https://www.facebook.com/sherry.wiggins.14/videos/1167609360447550

River in the Mirror, Sherry Wiggins and Luís Filipe Branco, digital color print, 80 x 120 cm, 2017
Foot in the Mirror, Sherry Wiggins and Luís Filipe Branco, digital color print, 80 x 120 cm, 2017
Primavera I, II, III, Sherry Wiggins and Luís Filipe Branco, digital color prints, each 50 x 75 cm, 2019
Primavera II, Sherry Wiggins and Luís Filipe Branco, digital color print, 50 x 75 cm,
2019
 
Outside Woman, Sherry Wiggins and Luís Filipe Branco, digital b&w print, 80 x 120 cm, 2019
 
Performing the Drawing I,II,III,IV,V,  Sherry Wiggins and Luís Filipe Branco with Rui Fernandez (drone photographs), digital b&w printa, 60 x 60 cm, 2015
Performing the Drawing III,Sherry Wiggins and Luís Filipe Branco with Rui Fernandez (drone photograph), digital b&w print, 60 x 60 cm, 2015
Woman in Black, Sherry Wiggins and Luís Filipe Branco, digital b&w print, 50 x 75 cm, 2015
 

Woman at the Bridge, Sherry Wiggins and Luís Filipe Branco, digital color print, 80 x 120 cm, 2017
25th of April, Sherry Wiggins and Luís Filipe Branco, digital color print, 75 x 50 cm, 2017
Mirror at Santa Susana, Sherry Wiggins and Luís Filipe Branco, digital color print, 80 x 120 cm, 2017

Thank you to the many friends who have supported this work and this exhibition!! Margarida Branco, Senhor Mosco, Luis Pintassilgo, Pedro Barral, Andreia Vaz, Fatima Alvarez, Conor and Fiona Power, Martine de Kok, and all the many others in Portugal and in the US and around the world, and especially Ludger and Carolien! And my dear collaborator Luis Branco who only stands behind the camera, it is an honor and a joy to make work with you and we will keep making it!

Beckoning Salome – posted in Boulder, CO Jan 19, 2022

all images by Sherry Wiggins and Luís Filipe Branco, 2021

I have been looking through the thousands of images that I made with photographer Luís Branco in October at the OBRAS Artist Residencies in Portugal. We had a very productive time—our work has become increasingly theatrical, though always improvisational and never choreographed. Sorting the meaning and impact of the images takes time, reflection (and editing) to figure out.

It has been difficult to look at these images where I act out and embody the heroine Salome. Who was Salome anyway? Salome has been portrayed by poets and painters, in theatre and opera, and in film; as an alluring beauty, a chaste princess, a licentious woman, an evil seductress, a murderous vamp, an orientalist female visage, and more. Salome’s representation has evolved over the last two thousand years from its biblical beginnings, however her manifestations have never lost their misogynist overtones. She is adorned in jewels, semi-naked and swathed in diaphanous fabrics. She is often pictured with the head of John the Baptist on a platter, sometimes kissing his bloody head. Flaubert, Gustave Moreau, Oscar Wilde, Aubrey Beardsley, Richard Strauss, and even Al Pacino have all had their way with this damsel. Performers and actors; Mata Hari, Maude Allan, Rita Hayworth, Jessica Chastain have donned her immodest silken veils.

And why have I, a 66 year-old feminist conceptual artist, chosen to portray Salome?

By embodying Salome, I am beckoning the sexist male gaze that has tainted this mythical creature from her early beginnings. Concurrently I am questioning this gaze.

I arrived in Portugal last October with costume jewelry and gold and silver fabrics to bedeck myself. I found a fabulous brass tray at the Saturday market in Estremoz, the perfect platter for the imagined head of John the Baptist. We shot many images in the studio at OBRAS with a simple black background, the tray, the necklace and me. I am exposed (my sagging skin, my aging body).

When my partner, Jamie, saw these last few images she asked “What were you thinking about?” I was, actually, thinking about Oscar Wilde’s Salome and her unrequited love for Jokanaan (John the Baptist), of her kissing the decapitated head of her beloved. Yes, O.W.’s  Salome is pretty weird . . .

We were also shooting Salome in the castle at Evoramonte.

She is a dream, an apparition . . . much like Gustave Moreau’s painting “The Apparition” and the golden and silvered wall of the castle appears like a mirage or a beautiful abstract painting.

One of our last photoshoots, Salome at Sunset, was Luis’s idea and I improvised my Salome in the rental car at sunset, not quite so self-serious . This was fun.

Luís and my rendition of Salome is that of an aging princess, a slutty siren, a phantasm, a self-reflective woman, a wannabe movie star.  My Salome is sometimes sexy, vulnerable, a little bit witchy, mystical, even funny.  She shows her age, her make-up is a little overdone, her countenance confident, her body still strong and able. I can beckon Salome, I can beckon your gaze and my own gaze at myself.

I am looking forward to returning to Portugal to produce more “heroines” this spring. Luís Branco and I will have a large exhibition of our work “The Mirror Between Us” installed in the beautiful Igreja de Sao Vicente in Evora, Portugal in April of this year. We would like to thank Carolien van der Laan and Ludger van der Eerden of the OBRAS Foundation for their continuing support of our work.

WIP – Making Eve / The Serpent and the Marmeleira Tree – posted in Boulder, CO November 7, 2021

all images: Sherry Wiggins and Luís Branco, 2021

I have been home for a little over a week now—settling in and beginning to look at the many images I made in Portugal at the OBRAS Artist Residencies with my collaborator, photographer Luís Branco. It was the best residency yet at OBRAS Portugal, this was my seventh residency at OBRAS Portugal (lucky 7) and I have been collaborating with Luís in Portugal and in the Netherlands since 2015. I arrived at Herdade da Marmeleira (the site of OBRAS Portugal) and I was greeted by my dear friends Carolien and Ludger, the founders of Foundation OBRAS and my hosts and major supporters of Luís and my work.

My intent was to shoot (with Luís) my embodiments and reinterpretations of the heroines Eve and of Salome with some reference to their historic representations in painting and literature. The characters / heroines I am choosing are all based on the ultimate inspiration for this project Claude Cahun— both their 1925 text Heroines as well as Cahun’s more theatrical self- portraits and performative images. There are 15 heroines in Cahun’s text (Eve, Judith, Penelope, Helen, Sappho, The Virgin Mary, Cinderella, Marguerite, Salome, Beauty, THE ESSENTIAL WIFE or the the Unknown Princess (whom I have already represented in THE UNKNOWN HEROINE book and exhibition), Sophie, Salamacis, and THE ANDROGYNE. Of course there is tongue and cheek involved with Cahun’s re-presentations of these heroines, and also my own – after all I am a 66 year old feminist artist embodying these fabled women and Cahun was a radical feminist, gender fluid, artist in the early 20th century rewriting the allegories and stories of their lives.

I was a little intimidated at the beginning, embodying these illustrious heroines seemed a daunting task. Luís and I began shooting Eve / the Serpent in the beautiful studio  at OBRAS  under more controlled conditions. This way I could slowly take on this “original woman,” mother of us all, and apparently the reason we are not all still in paradise.  Working in the studio situation I began to get my dangerous woman Eve / Serpent ju ju going and Luis captured some great images. Here are a few:

There are lots of representations of Eve but this watercolor by William Blake “The Temptation of Eve” (created for Milton’s Paradise Lost) spoke to me. I love the organic quality of the tree and the fruit, the serpent wrapping around Eve’s body, and Adam seemingly unaware of the circumstances. I also like the conflation of Eve and the Serpent, they are one body. I am a Buddhist and not a biblical scholar, but I do sincerely question this idea that “they” (Eve and the Serpent) are responsible for the expulsion from Paradise. I had found this super cool holographic snake fabric and special gloves (during my preparations in the US) and I brought this new costume to use for this embodiment.

The Temptation of Eve, William Blake, 1808

Then we started shooting Eve / Serpent Woman by the Marmeleira tree in the courtyard at OBRAS. As I have written before, I chose the Marmeleira tree at OBRAS because it is so beautiful and also because there is some research and speculation about the original “forbidden fruit” in Paradise. If our biblical paradise was located on this earth, it was most likely in some more southern habitat. Apples are a more northern fruit. Some say that the Marmelo fruit / the Quince fruit could have been the fruit of the Tree of Knowledge. The fig, the persimmon, the pomegranate, are also possible suspects. We did our first shoot with the Marmeleira tree at dusk. Here are a few of those images:

Luis came back a week later and we did two more photo shoots (one in the morning and one in the evening) with the Marmeleira tree, this time with lights. Here are a few images from these last two photoshoots.

Cydney Payton has been helping me go through the many images of Eve and the Marmeleira tree. I am really excited about this new heroine of mine. I have many other images to sort through including my Salome embodiments. Lots of really good work! Other friends have been helping me sort the images, thank you! I am also sure that this project will go on with many more of Claude Cahun and my heroines. Va va voom!!

My friend Karla Dakin found this excellent article which confirms my belief in the marmelo / quince – It wasn’t an apple:

https://wsimag.com/food-and-wine/63211-it-wasnt-an-apple

the limited edition artists’ book – THE UNKNOWN HEROINE, posted in Boulder, CO, April 22, 2021

THE UNKNOWN HEROINE is a 64-page limited edition artists’ book made by conceptual artist Sherry Wiggins in collaboration with photographer Luís Filipe Branco and curator and writer Cydney Payton. The book is comprised of text and images that are based on Wiggins’ interaction with French photographer and writer Claude Cahun’s essay “THE ESSENTIAL WIFE or the the Unknown Princess.” The book includes this essay by Claude Cahun as well as an essay by Cydney Payton. You can download Payton’s essay below. The book was designed by Joseph Logan.

PROLOGUE FOR C.C. – Sherry Wiggins

I am writing to you, C.C., about what happened in The House.

The House, named Grunfoort after a castle that disappeared long ago, was strange at first. It was beautiful, old-fashioned. White tulips grew in the garden. Aren’t they a symbol of loss? I saw them for their other meaning—regeneration.

Persephone called to me. Or was it Demeter? Daughter or mother? This always confuses me.

I brought your Heroines* with me. The stories (allegories, para­bles) are so good, so complicated, filled with references to history, to the Bible, to literature, mythology, fairytales, and they are so wickedly feminist and modern: EVE THE TOO CREDULOUS, Penelope the Irresolute, HELEN THE REBEL, SAPPHO THE MISUNDERSTOOD, SALOME THE SKEPTIC, BEAUTY (OR THE TASTE FOR THE BEAST), THE ESSENTIAL WIFE or the the Unknown Princess, THE ANDROGYNE and the rest. I want to make all of your Heroines my own.

As I delved into the tale of “THE ESSENTIAL WIFE or the the Unknown Princess,” allusion by allusion, I understood that, though the story is yours, this is really my story. And though you tell the story well, I have lived this story. I also realized that The House was the perfect setting for the tale, a perfect abode for both THE WIFE and the the Princess.

That’s how it all began—the embodiment, this practice, this the­atre—with me enacting the story—your version, my version, our version, in The House.

I took my role as THE ESSENTIAL WIFE quite seriously, and the the Unknown Princess emerged as well. I dressed in black. I pulled my hair back severely. Lots of makeup—Chanel and more. Was it a parody, a performance or truth? The truth, is an older woman looks better with makeup, not too much.

I am no actress. I have become a performance artist. Who knew? Maybe you knew, C.C.; you did all that theatre in Paris in the twenties. I love those images of you as The Devil, The Buddha, The Dandy, The Maiden. Identity is a fluid subject, but you already know that.

Day after day I performed quite well—almost not a performance— as THE ESSENTIAL (House) WIFE. What drudgery! What fun! Well, the the Unknown Princess certainly appeared too. It was all somewhat exhausting: the cooking, the cleaning, the play acting. I needed lots of cigarettes in the garden.

That last morning, while putting on makeup, eyeliner, red lip­stick in the upstairs bathroom, standing there in my tights and Spanish socks, I thought, Why not? I went to the banister and posed. What do you think, C.C? Am I THE ANDROGYNE? 

Still performing, I put on my robe and went into The Study, the most beautiful room in The House. The windows, the light . . .

What do you think, C.C.? What is a Masterpiece anyway? Masterpiece or not—who decides?

* Claude Cahun, “Heroines,” translated Norman MacAfee, in Inverted Odysseys: Claude Cahun, Maya Deren, Cindy Sherman, ed. Shelley Rice (Cambridge, MA: The MIT Press, 1999), 43 – 94.

You can download the pdf of Cydney Payton’s essay “A Room of One’s Own” below:

All 19 performative photographs in the book were made in collaboration with Luís Filipe Branco. All 19 images are also available as limited edition archival digital prints.

All photographs of the book were made by Robert Kittila.

Please contact me if you would like to receive a copy of the book.