Inspired by the collage practices of the Surrealists, Penny Slinger uses the same tools to probe the feminine psyche. She chooses to be her own muse, employing photographs and life casts of herself throughout her practice -- owning her sexuality and challenging the status quo. As part of her in-depth exploration of how a woman is seen and how she sees herself, Slinger creates themed series of works.
The collage works exhibited at Frieze are selections from 50% The Visible Woman (1969/71), Mouthpieces (1973), Bride's Cake (1973), Scrolls (1976), An Exorcism (1977) and Mountain Ecstasy (1978). In these works Slinger presents the body (often her own) and its parts as vehicles for expressing states of consciousness. Her bodies are not passive, but instead actively investigate all aspects of the psychological and sensual worlds of the awakening feminine. In these ways Slinger boldly unveils the taboo, the transgressive, the sacred, and the profane.
Penny Slinger: Mountain Ecstasy