Monday  Jul 18, 2005

Sherri Wood's Tattoo Baby Doll Project

For many years Sherri Wood has been collecting cloth dolls at thrift shops and then sending them to some of the county's most prominant female tattoo artists who then draw original tattoos on the dolls bodies. Sherri then hand embroiders the art on the dolls.

Sherri explains in her artist's statement:

"The dolls, like their artists, are of different races, religious and sexual orientations, and cultural backgrounds. Each collaborating artist is asked to consider her response to tattooing the doll along with my feedback and response to embroidering the doll. From there she is encouraged to name and then write a short statement or story about her doll.

The Tattoo Baby Doll Project serves to break down barriers and prejudices about women’s work and roles, tattoo subculture, craft and art. The project strikes a subtle balance between these varied traditions and the communities they represent, thus questioning the lines that define, separate and empower each tradition. It draws together two distinct and distant marginal groups. Yet the unusual juxtaposition between embroidery and tattoo makes sense because it exposes an underlying metaphor intrinsic to both marginal groups. It is through the recognition of shared metaphors that cultural hierarchies and personal prejudices begin to break down."

Statement by Sarah Peacock, tattoo artist:
"Lydia, oh Lydia, oh have you seen Lydia...?!" Marx Bros. Lydia's tattoos represent many strengths and great courage. She wears a combination of Western & Eastern art; the 3/4 "robe" reflects traditional Japanese tattoos of the irezumi, whilst the imagery belongs to American "old school." Both touch on remarkable beauty, but also give light to social taboo... the Japanese irezumi (literally those with the "insertion of ink") are still very underground. In America it is acceptable for a woman to have one or two delicately placed tattoos, but a fully covered woman is perceived on a much different level, someone to be glimpsed at, watched, commented on, but rarely approached, and often feared. To achieve a full bodysuit of this proportion takes great commitment and endurance for both the wearer and the artist. For this reason I have immortalized Lydia in the backpiece, nestled upon the sacred lotus, under the canopy of tattoo machines, glowing like the Madonna of Guadalupe. On her front, mermaids swim alongside coy carp, giving strength through the waters of the emotions. The bluebirds on her chest show the miles she has traveled on her journey to completeness. So take a good look at Lydia and reflect on her beauty. Next time you see here, go and talk to her.

You can learn more about the project here.

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