BOUND

By Jessica Chan-Charette

 

“Bound” is a three part book arts series meant to engender dialogue about the subtle yet pervasive oppression of women, using the lens of Chinese culture and history. The image of the ideal Chinese woman is one that has shifted throughout time. Beginning in the 10th century and lasting until the advent of Communism, Chinese women were forced to partake in foot binding. By bending and ultimately breaking their feet into the desired lotus blossom shape, these women were considered more sexually and socially attractive, as the practice was mostly upheld by the wealthy.

A horrific practice, the process often led to gangrene and foul smelling bacteria growth. With physically bound feet, women remained immobile, literally and figuratively, dependent on adherence to rules created by men. This type of control is not as apparent today, but its presence still persists. Chinese women are expected to be quiet and submissive. The opposite translates into undesirability.

The first piece in the series is a handbound book, printed using linoleum block and monotype techniques. The pages alternate between lotuses printed on translucent paper and portraits, with every two pages knotted together. The women’s faces are partially blocked by a lotus print, referencing bound feet to symbolize how women are silenced as they suffer under oppression.

Each portrait references models or movie stars, representing the ideal modern Chinese woman. Every woman has a story about when they were treated as “less than” because of their gender, ethnicity, or both. Many times, a “pretty face” is just a mask. Unless someone is willing to look closer and listen, that is how everything remains. This action is represented by the undoing of the knots as only then is each face completely visible.

The second piece is another handbound book of abaca double-couched portrait illustrations. The abaca is translucent so the illustrations remain visible. Including a self-portrait, each face belongs to a Chinese woman that I know personally. The bondage here is literal as the layers are fused together during the drying process. The book has a length of 3.5 inches, helping viewers visualize the size of an ideal bound foot.

This tiny book represents the everyday woman of Asian descent, all who have felt the pain of societal pressure. While the expected beauty standards no longer include foot binding, ways to hold women back have merely shifted in form. The position of women has improved, but there is still much work to be done.

The third piece is a collection of handmade paper “stones” resembling amber. Each “stone” is a double-couched, or fused illustration between sheets of handmade abaca. Amber is used to reference history as well as a sense of halted time. When amber forms, its victims are stopped in their tracks and slowly die, frozen within the fossilized tree sap.

The trapped portraits feature the faces of Chinese women photographed in the 1800’s when foot-binding was still practiced. Bound feet were showcased in beautiful silk wrappings, but hidden underneath was the deformed evidence of an excruciating formation process, much like that of amber.

Amber is prized for its aesthetic qualities and scientific worth. Like the creatures captured within the valuable material, women throughout history have been confined within a damaging façade of demure beauty. What appears beautiful on the outside hides a slow and painful death inside. The pieces are displayed inside a jewelry box mimicking a collection, akin to how women are seen as prized objects. Their bodies are not treated as their own, but instead are something to be owned by others.

“Bound” makes a full circle from the past to the present. Though this series is embedded in Chinese history, it represents all suffering women. The intent is to shed light on societal standards placed on women that turns desirability into a tangible commodity, which can yield social and economic “rewards,” but by the same token perpetuates the oppression of women, snuffs out their internal light, and whittles away their self-esteem.

Their voices become weak until they feel they cannot speak. They are trained to believe that being “nice” is more important than self-advocacy, to submit when denied leadership positions, and to blame themselves when they are assaulted. The vicious cycle continues as women base their self-worth on what the world tells them instead of recognizing and celebrating their inherent power, strength, and beauty.

Amid the competing voices telling us who we are, we forget to listen to the voice of God. We forget that we are fearfully and wonderfully made by a creator who gives us our worth. We forget that we are daughters of a Father who crowns us queens in His kingdom. We forget that we were born with so many gifts and talents to be utilized in pursuing our callings and dreams. When we grow accustomed to staying silent, we forget that our voices and our stories matter, that we matter.

Jessica is the artist behind Sowing Ground. She enjoys making nature-inspired art that encourages joyful living. You can learn more about Jessica and her work at www.sowingground.com or follow her on Instagram @sowingground.