Caronlyn McKenzie-Craig, <i>And the chorus sang- not one ofus</i>, 2014, drawings and printed text. Heidi Stevens, <i>Collecting Fossils</i>, 2014, mixed media. Carolyn McKenzie-Craig, <i>Movements against inertia</i>, 2014, drawings and solvent. Heidi Stevens, <i>Expelling the Baby</i>, 2014, mixed media. Carolyn McKenzie-Craig, <i>Index cards for normalcy</i>, 2014, etchings. Heidi Stevens, <i>Mother Knows Best</i>, 2014, mixed media. Carolyn McKenzie-Craig, <i>Tomes of authority, Book IV (menshem)</i>, 2014. Heidi Stevens, <i>Winning the Fight</i>, 2014, mixed media.

G(r)azing on Flesh
Carloyn McKenzie-Craig and Heidi Stevens
3rd September - 6th September

G(r)azing on flesh looks at the work of Carolyn McKenzie-Craig and Heidi Stevens. Both artists are invested in the gendered bodily experience within contemporary society. McKenzie-Craig investigates the potential for a gendered self free from social constraints whilst Stevensí pursues an exclusively female symbolic order.

The exhibition at The Hold presents a dialogue between McKenzie-Craig and Stevensí work whom both utilize the body to find new gesture and posing that push against existing coercive regimes of social expression, although with vastly different thematic desires.

Carolyn Mckenzie-Craig practice deconstructs notions of normalcy that are imposed on the social body and played out in personal space. Through investigation of the origins of stereotyping McKenzie-Craig uses performance to show how these are imposed on the individual through the language and gesture.

Heidi Stevens practices within the traditions of constructed photography and body performance. Using materiality of fabric and sensuality to examine the internal dialogue. Psychological trauma is pursued and replayed in the silent spaces of Stevensí work. Refusing the dominant social structures, Stevensí work escapes to the void, building a space to invert norms of female sexual passivity. Where each work is taken to re-arrange imposed identity and express the psychological.