Mademoiselle Rrose Selavy. – Adele Howitt

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Mademoiselle Rrose Sélavy was arguably Duchamp’s most complicated
work. A pun on ‘c’est la vie’, Duchamp’s alter ego became a pin up of
New York Dada when photographed by Man Ray. Perhaps it was one of
many attempts to tease ideas about identity and self-representation.
I have reacted to the ready-made urinal through adding embellishments
created using hand-made traditional pottery methods. Notions of identity
stream through my work and there’s always an argument for the
hand-made versus the ready-made. An idea that identity is fragile
draws links to the materials’ vulnerability. This decorative reaction to
a specifically masculine product maybe considered to be feminine or
does it add a layer of questioning about identity?

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