Information
This project explores the double pressures and systemic inequalities that women face under national fertility policies and examines the physical, psychological and social impact of these policies on them. Through symbolic totems, screen prints and illustrations, I want to critique the exploitation of women's fertility through my fusion of female figures with natural and human imagery. My work emphasises the need that governments need to take women's perspectives into account and take a more considered and effective approach to the birth rate challenge, rather than relying on the simple provision of monetary incentives.
Inspiration
In August 2023, the Hangzhou Municipal Health Commission issued the "Implementation Measures for Parenting Allowances in Hangzhou (Trial)", under which childbirth allowances in Hangzhou were divided into two categories: maternity allowances and parenting allowances, both in the form of one-time cash payments. Regarding maternity allowances, a one-time allowance of 2000 RMB (around 200 GBP) is given for the second child and 5000 RMB (around 500 GBP)for the third child. As for parenting allowances, a one-time allowance of 5000 yuan (around 500 GBP) is given for the second child and 20000 RMB (around 2000 GBP) for the third child.
This policy by the Hangzhou government is aimed at promoting the national policy of encouraging families to have more children, using monetary incentives to influence family planning decisions. While the government's subsidy may seem to alleviate the burden of childbirth for families, in reality, it's just a drop in the bucket. It gives me a surreal feeling of resorting to superstition, as if seeking a child through monetary exchange is akin to making a wish to a deity.
The strategy of family planning has a history of over 50 years in China, and throughout its development, there have been numerous shocking, ridiculous and laughable policies. Women's childbirth seems to be simplified as a trivial natural phenomenon in the eyes of the government, ignoring the physical and psychological trauma women face during and after childbirth, as well as the difficulties they encounter in the social and workplace environments. The government only focus on national interests, showing a very formalistic approach in terms of humanitarian care when implementing national plans, which is hypocritical selfishness.
I became curious about the "efforts" the country has made in family planning over the years and started to organise and analyse them.
Research
- Policy shift: from the one-child policy to the three-child policy, I investigate the changes and processes of the Chinese government's control over women's reproductive rights. In the early stages, forced abortions were used to strictly to control population growth, directly interfering with women's autonomy over their reproductive choices. In recent years, the government has shifted its stance in the face of a declining demographic dividend by encouraging childbearing and giving bonuses to families with multiple children. However, the underlying logic of these policies is again centred on the interests of the nation, with no real consideration for women's reproductive situation, and continues to ignore women's needs and rights as individuals.
- Limitations of the benefits policy: Hangzhou's motherhood benefits policy (e.g., a one-time subsidy of 5,000 yuan for a second child and 20,000 yuan for a third child) is designed to reduce the financial burden of child-raising in order to encourage people to have more babies. However, these benefits are tiny compared to the long-term costs of raising children and the sacrifices women make for their bodies and careers. This policy reflects the Government's indifference to women in addressing the issue of childbearing, relying solely on the provision of financial incentives to cope with the matter, rather than providing real and effective solutions to the difficulties faced by women.
Through interviews and research, I have found that childbirth affects women's bodies far more than I realised:
- Physical trauma: Giving birth can lead to long-term physical conditions such as pelvic floor damage, stretch marks and diastasis recti (separation of the rectus abdominis muscle). These problems not only affect physical appearance but can also have a serious impact on quality of life, leading to complications such as urinary incontinence or chronic back pain.
- Psychological trauma: Pregnancy and labour are often brought with emotional challenges, including anxiety and postnatal depression. Multiple pregnancies can increase these risks, leading to long-lasting mental health effects.
- Workplace discrimination: Women are often labelled as ‘high-risk employees’ due to their fertility and they often face extra burdens and discrimination in the workplace. This perception limits opportunities for career promotion. Policies that encourage giving birth increase discrimination against women in business, contributing to social inequality and highlighting systemic gender biases.
Throughout history, humans have developed various beliefs about fertility in an effort to sustain and perpetuate life, all expressing a deep desire for the continuation of existence. Fertility faith places this desire for human proliferation within the context of worshipping deities; it attributes human reproductive capabilities to mysterious forces beyond mere humanity.
Fertility faith initially emerged through the depiction of goddess figures, offering an explanation for women's reproductive actions and realities. In the matrilineal societies of the time, women held the privileged position of bearing new life, leading to the veneration of pregnancy and women in general. However, as time progressed, fertility faith increasingly became a means of restricting women's behaviours and thoughts. Conventional, restrictive practices governed women's reproductive roles and related matters. With the rise of patriarchal societies, the reverence once shown to women shifted towards discrimination against them. Women's ability to reproduce was no longer seen as an autonomous privilege but rather reduced to a mere tool for childbirth. Over time, fertility faith evolved into a gender-based belief system, specifically designed for and existing against women, filled with discriminatory practices.
In my view, the series of fertility policies implemented by the state are essentially using fertility faith to control women's reproductive rights. The government relies on the actual reproductive functions of women, and under its authority, it has deprived women of their rights as reproductive agents, yet women still bear all the associated reproductive risks and obligations. Consequently, I plan to create a series of religious, totem-like illustrations to depict the predicaments, oppression, and exploitation of women under these policies.
Frida Kroh's work had a deep impact on my project, especially her portrayal of pain and sorrow. The way she uses symbols is both subtle and full of life. In her print Frieda and Miscarriage, blood flows from her vagina to her legs, leaking into the earth and moisturising it, and giving life to plants as children's eyes, hands and genitals. This representation of the flow of life and connection greatly inspired me and I have taken the concept and woven it into my own work.
This connection between the human body and the plants also reminds me of ‘synesthesia magic’, where the magical effect is created through connection with similar objects. Likewise, I can relate female fertility to plants, as they represent life, vitality and nourishment, qualities that women relate to. This made me interested in botanical illustration with the concepts of growth and fertility in my work. The roots, for example, symbolise the maternal bond, while the flowers and fruits represent the results of reproduction. I drew inspiration from the book “The Art of Botanical Illustration”, and an artist's work combines plants with everyday objects humorously and insightfully. I was inspired by this, giving me the idea of creating a unique visual language that captures the tension between fertility and systemic oppression.
Process
My illustrations use religious totems and poetic forms to depict the predicaments and oppression women face under fertility policies. Through symbolic compositions and intricate details, I aim to convey profound social critique and highlight the systemic challenges women encounter in these contexts.
This poem reflects the central theme of my work, portraying the exploitation of life-giving forces while neglecting the toll it takes on the source of creation. It encapsulates the conflict between societal demands and individual suffering, especially as it relates to women's roles in reproduction.
Gradually, the granary empties
Anxious people start whispering
Witnessing a tender green sapling sprouting,
They chop, chop, chop,
Praying for its fertility.
The tree, compelled to grow at an acceleration
But do the masses perceive the tree's pain?
Expanding and contracting,
Skin stretching,
With a creak, it shatters,
New life forever radiant,
The fruit becomes the sole objective,
And who will care
For the ruptured husk?
Perhaps they only experience fleeting joy,
Only revelling in the initial delight,
And the pleasure of ripe fruit,
Who will care
For the ruptured husk?
In this painting, I depicted the woman in the painting in the posture of a goddess, to the point where she stands with her arms in the middle of a tree branch, with two children growing on the book. At the same time when depicting the goddess, I have also depicted the stretch marks from pregnancy, the red stains on her body seem to be blood that was just too late to be wiped away from her delivery, and the fiery red colour also symbolises the power of fertility.
In this painting, I depict a woman in labour, surrounded by thorns and children, forming an impenetrable barrier around her. At the same time, the woman is producing breast milk to nourish her children among the thorns. The painting vividly depicts the stresses and challenges of childbirth and the responsibility of nurturing that comes with it. The intertwining of thorns and children not only represents the physical and emotional pain associated with motherhood but also symbolises the relentless demands placed on women as caregivers. The thorns and children surround the mother, emphasising the often overwhelming and suffocating nature of these roles, and highlighting the immense sacrifices women are required to make and the strength they display when giving birth and raising children. The image of breastfeeding among the thorns further emphasises the harsh reality of the life-giving but painful nature of maternal duty.
I have used a lot of symbolism in this painting. The nipple-style piece of equipment at the top is filled with gold coins and squeezes out a huge red droplet of blood which is also a freshly stitched pregnant belly, she transports the blood with her rhizome into both foetuses, while the plants behind it look like abortive ovoid clamps, ready to pinch the foetus out of her body. It speaks of a woman's reproductive power that she cannot control on her own.
Making Process
II chose to use screen printing to present my work because it allows for relatively quick replication of artwork and can also accommodate relatively large sheets of paper, which suited my needs well.
This was my first attempt at creating artwork using screen printing. Instead of producing the positives digitally, I chose to hand-draw them entirely. I believe that hand drawing always reveals unexpected textures and qualities, bringing more life to the images.
During the process of creating the positives, I accidentally created a dotted texture, which was a pleasant surprise during printing and turned out very effective. However, due to the large size of my work (550 x 590mm) and the number of colours involved (around 7-8 layers), the time required to hand-draw each layer increased.
Each illustration took about 1.5 weeks from preparation to completion.
As I continued to learn and print, my speed improved, and the error rate decreased, which was significant progress.
I printed my poems on ultra-lightweight Japanese fabric-like paper (*Inoshi* 11gsm). This paper’s delicate and translucent qualities allowed it to overlay the screen-printed illustrations without obstructing their visual impact. Instead, it added a soft, layered effect that enhanced the overall aesthetic.
Each section of the poem was independently printed on individual sheets, interspersed between the illustrations. This arrangement enriched the narrative flow of the work, creating a harmonious interplay between text and imagery. It provided viewers with a multi-dimensional experience, allowing for deeper engagement.
In order to preserve screen prints, I created a folder inspired by the storage methods of the magazine PLETHORA. As my work has one thing in common with the magazine - its large size - the folder is not only effective in protecting the screen prints but also space-saving.
The surface of the folder is wrapped in a striped textured fabric, subtly evoking the stretch marks that occur during pregnancy. In addition, the folder's opening is secured with multiple straps that resemble surgical bandages, echoing the theme of my work.