To feel the skin is to be vulnerable.  It is vulnerability that moves the edges, morphing and haunting the boundaries, emerging and retreating, being present and absent, building and unravelling, free from over-coding and over-riding the pathology of that which is ‘unfeminine’.  How can we develop a ‘maternal feminine aesthetic’, one which articulates the feminine as it is experienced and let this subjectivity connect and transform its relationship to our ecology?  The wanderings of the uterus has universal significance, after all, we all came from it and some are eternally returning.

A wandering uterus and its complex network of hormonal activity can leave man in the dark, his efforts to contain and control nature’s forces largely unsuccessful.

The work of the wandering uterus underpins the matrix allowing a gentle rhythm of feminine change in the dawn of fresh feminine understandings that is wild, sensual, adorably irrational, earthy and receptive.  Firm within her parameters the masculine can be understood as part of the matrix.

Perhaps now we could have before us a different story, one in which the unhindered uterus unfolds, and freely wanders as it meanders and navigates its vast capacity for connection.

With a true intuitive and dynamic nature, a wandering uterus can emit a vulnerable sensitivity that is a treat for both men and women. Through understanding femininity and its ecological potential, a model of respect and limitless love of women’s internal and external landscapes can be cultivated for universal collaboration.

A mother brings to the table ‘unconditional love’, which springs from her resourceful well to fine-tune and nurture offspring.  This love is silent and repetitive work and it deserves a fresh feminine expansive world view to create a sustainable economy in its ecology.   The expansive maternal voice is quickening to be recognised for its receptive practices.

That voice is a ‘maternal feminine aesthetic’ emanating from a wandering uterus as a presence which freely moves with differing velocities.  In an undulating landscape it explores the abject, sensual and elusive feminine body within its natural settings.  It is about being comfortable in one’s skin, incorporating the feminine and unfeminine allowing for change through destruction and renewal.

I could delve into the depths of empowerment, but this is to get trapped again by paternal law’s dualistic and classification tendencies.  Feminine identity is a moving, visceral entity.  Healthy uterine contractions for pleasure and creativity culminate in the pivotal maternal orgasm, a threshold for form and identity.  The tension from reaching this peak, progressively working the push/pull of uninhibited contractions in childbirth is determined by the ‘will’ of the mother.  It is from this mechanism of contraction and release that she builds cycles, builds resilience to sustain the matrix, which innately houses the ability to steer and affect all relationship.

To visually explore and heighten the significance of feminine cyclical rhythms embedded in geography is to connect.  To affirm a future in which the subjectivity of a ‘maternal feminine aesthetic’ gives way to a fresh reading of feminine work is to be progressive.  To understand its emancipatory potential in unravelling the silences of women where the unquantifiable is valuable and the vulnerability of innate, intuitive capacities, is to be real.