Veronica Restrepo

Verónica Restrepo

Born in 1977 in Bogota, Colombia
Lives and works in London, UK

Veronica Restrepo is a ceramic artist who crafts curvaceous forms through the plasticity of clay. Often inspired by alternative realities, anthropology, archaeology and mystery, her work explores and deconstructs concepts of femininity and otherness, and features a variety of decorative ceramics that challenge the line between functionality and aesthetics. Veronica aims to bring to our attention how objects such as ceramics become the documents that reflect and codify cultural exchange, whether this has come about through war, trade or survival. She often uses the pretense of an archaeological dig, presenting her pieces as objects from another world, and reflecting on this exchange and perception of "the other".

Before moving to London, Veronica studied Anthropology in Bogota, Colombia and completed a Masters in Sociology in Madrid, Spain. She completed her certificate in Art Management at Birkbeck, University of London, and has been involved in arts and educational projects for several years. Veronica is a youth worker and has been developing her ceramic practice alongside this since 2008. She completed Level 2 Ceramics and Decorative Techniques at City and Islington College, London in 2013.

 

How is your shero?

The everyday warriors ready to feel in a world that stifles emotions, sensitivity and vulnerability.

How does the work you are presenting exemplify the theme of ‘sheroes’?

The Ilium Warrior stems from reading about recent archaeological findings during a moment of feminist resurgence in the media, and when I have also been reflecting on my individual choice not to have children.With this project, I am exploring the biological role, the cultural construction and the ethical implications of women as the ones who give birth.  Previously, archaeologists had assumed that Norse-Viking sites had no women warriors. However, recent findings, employing pelvic bone studies, have questioned this assumption. The patriarchal bias of archaeology can be seen as a symbol for how every subconscious message forms part of a bigger picture of oppression. My project looks in depth at the assumptions and research around pelvic bones, pregnancy and giving birth. Not every female pelvis is apt for bearing children. Not every woman can have children. Not every woman has to want to have children. And just because we can have children, does not mean we cannot be warriors. It is the subconscious pressure around what femininity means and how feminism plays out that I wish to challenge.

ARTWORK

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