Colonized, commodified, and reshaped by market forces, the palimpsestic female body is a site where cultural phenomenology and social perversions have historically been inscribed.

Images are powerful—they shape, distort, liberate. Yet images can be manipulated as much as they can manipulate. As so, assemblage can function as a form of resistance, engagement, dialog. Through the appropriation of complicit media text, this workshop takes a look at how the poetic language of collage can be used to subvert overt representations, reclaim the gaze, reverse the narrative and usher in more fluid, inclusive expressions of identity. With the maelstrom of archival material in circulation at our disposal, this workshop examines the semiotic representation of gender and sexuality within the postmodern feminist framework of fragmentation.

Through stripping away visual forms of representation, new constructions that go beyond the objectification, exploitation and hyper-sexualization created and challenged. From this reconfiguration of media text, new meanings and readings of gender, sexuality, and identity are defined that speak to strength and power.

The workshop aspired to impress how much perception is shaped by context and how creative expression is hinged on the smart implementation and articulation of both.


The workshop used the art form of assemblage to explore, dissect and reconfigure how females are visually portrayed. Beyond the examination of identity, the artificial dichotomies between abstraction/rationality and representation/reality will also be explored. These ideas will be paired with instruction on methodology and a range of technical approaches to the medium: assemblage, digital processes, photomontage etc.

Historical and contemporary precedents were covered to contextualize current mixed media practices, as will the contributions of several female artists who have been influential in pushing boundaries of the medium, such as Deborah Roberts, Hannah Hoch, Martha Rosler. The importance of research, artistic process, visual were also discussed.


Sam Heydt is an American social practice and recycled media artist born/raised in New York City. After having lived, studied and worked in several countries In 2012, Heydt launched Jane Street Studio, L.L.C. in Manhattan where she provides both design and marketing consultation in addition to art direction gaining worldwide attention. Heydt has attended artist residencies in Iceland, Australia, and New Zealand; where she has documented different forms of environmental exploitation. A published author, producer, and lifelong activist, Heydt has undertaken a range of altruistic, non­-profit work. Her art, anchored in social advocacy, attempts to give a voice to the veiled, forgotten, exiled, and silenced. Working across different media- film, video, installation, photography, sculpture, sound, and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past but built on it. Often reinventing or trespassing the associative use of the material in use, Heydt is esteemed as one of the pioneers of the recycled media movement. Her work has been shown in galleries, museums, art fairs, and film festivals worldwide.


Sheroes is a collaborative project that highlights hidden herstories through the arts.

If you want to support the sheroes cause, please donate. All the money raised will go to running more Sheroes events.

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