When abortion gives birth to art
Local artists have tended to steer clear of this taboo topic, but examples exist
Mar 29, 2020
Lisa Gwen Andrews
For, or against?
That is not the debate. Not here, not now.
This is, however, a mere first attempt at illustrating the woes of women and individuals who have tried, over the years, to visually portray the emotion and experience in relation to the topic of abortion and women’s reproductive rights.
Art exhibition highlights abortion stigma
27th September 2019
The Voices and Choices exhibition will put a spotlight on issues of abortion and reproductive justice in the country, as part of the #MybodyMychoice coalition campaign.
South Africans from different organisations and communities are expected to have a unique experience surrounding conversations about the stigma associated with abortion. The multimedia Voices and Choices exhibition is a collaboration of South African female artists under the curatorship of Mmabatho Montsho.
The Abortion Pastels, Paula Rego
May 21, 2018 / womensartblog
In 1998 Portuguese born artist Paula Rego created a series of work entitled Untitled. The Abortion Pastels. Rego created her work in response to a referendum to legalise abortion in Portugal, which was very narrowly defeated. Each canvas depicted the image of a woman undergoing an unsafe abortion.
Rego was born in Portugal in 1935, into what she describes as a repressive, middle-class Portuguese life in which women were highly encouraged to do nothing, while working-class women were forced to do everything. The painter recalls girlhood as a time of learning obedience to men, in addition to secretive and confused messages about puberty, sexual abstention and female propriety. Subsequently, after leaving 1950’s, then fascist Portugal, described by her father as a ‘killer society for women’, to attend London’s Slade School of Fine Art, Rego recollected an era including coerced sex leading to secretive and often tortuous back street abortions. In turn, her Abortion series would be both inspired by her own experiences and that of her fellow female students and what she had witnessed growing up around the small Portuguese villages of her formative years.