Jazmina Cininas

Country

AUS

Affliliation

RMIT University, Australia

Biography

Jazmina Cininas is a Melbourne-based artist, arts writer and curator who lectures in printmaking at RMIT School of Art, where she is also currently a PhD candidate. For more than a decade now, Jazmina has been charting the various incarnations of the female werewolf as a vehicle for her printmaking practice. As part of her PhD research project, Jazmina is creating a Girlie Werewolf Hall of Fame by identifying women from throughout history who may qualify as female werewolves and selecting a number of them to portray as reduction linocut portraits. Since completing her MA in 2002, Jazmina has exhibited her ongoing Girlie Werewolf Project throughout Australia and in Lithuania, and has presented papers on female werewolves at international conferences in Philadelphia, Budapest, Oxford and Manchester. Jazmina_s work is in many public collections, including the National Gallery of Victoria, the Victorian Arts Centre, Broken Hill Regional Gallery and the Alice Springs Art Foundation. Her curatorial projects include Enchanted Forest: New Gothic Storytellers, which toured to significant regional galleries throughout Victoria and NSW between 2008-2009. Jazmina also initiated the RMIT Summer Printmaking Residency programme with the exhibition Pelt in 2004. For the record, Jazmina is not a werewolf.

Paper

Girlie Shape-shifters With Five O'Clock Shadows: Surveying representations of she wolves, wolf girls and female werewolves in printmaking and the visual arts

Abstract

This paper surveys visual representations of the 'she wolf' - from early modern era wood blocks, through sixteenth century portraits of 'celebrity' hairy wolf girls, to contemporary works on paper and the broader visual arts - as a broader context for positioning my own printmaking practice. Artists under discussion include Kiki Smith, Cecilia Fogelberg, Cynthia Consentino, Margo Selski and Meret Oppenheim. I acknowledge my debt to the visual conventions that have been used by previous generations of printmakers, as well as identifying points of departure for novel interpretations of a feminine werewolf motif. I also briefly discuss how my chosen medium, the reduction linocut, might contribute to an understanding of feminine lycanthropy not already offered by existing representations of the female werewolf in the visual arts.

Date

Friday 30 September

Session

11:00am - 12.30pm

Speaking

11:30am

Email

jazmina.cininas@rmit.edu.au

Website

www.facebook.com/thegirliewerewolfproject.
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