Womanhouse is an evolving collective of feminist artists, writers, and academics who come together across the generations to make a space to work and talk together. Apartment is the inaugural exhibition of WomanHouse, it will become a site for collaborative making as well as a place for a series of talks and slide shows examining feminist art practice and gendered paradigms. It will be an opportunity to explore the notion of ‘home’ often the place for intergenerational exchange.

studioRCA, SW8 5AU
13.04.15 – 15.05.15








Taking its cue from Martha Rosler’s Monumental Garage Sale of 1973 this exhibition will begin with a yard sale. The space will be filled with items from our homes and studios: half made works that have been deserted, wood, canvases, fabrics and art materials we may once have thought we’d use, as well as all the other objects with which we live. This collection of things will present a tangled amalgamation of the closed spaces where we live and work, hinting at ideas and projects abandoned, the objects we gather for futures we give up and the private concerns we attempt to live out in our work. These will be for sale, and what is not sold will be used, repurposed, recycled over the course of the month that the group occupies the space to create a series of both collectively and individually made works. Taking this heterogeneous approach to collective work, the exhibition will be the testing ground for creating a space where artists can share knowledge and skills, while reflecting different ways of working together




  fake wood and marble techniques  


Skill Sharing Workshop Friday 17th April 11am-1pm

Fake Wood & Marble techniques

If you would like to join you will need to bring a pre prepared board (card will do) painted in: white or cream or beige coloured vinyl or satin sheen paint -. doesn't have to be waterbased, could be oil eggshell and any big soft brushes, goose feathers  & little sables you might have. Odd boards and some nonbuckle paper will be available to play around on, along with all the paints & special varnishes, brushes combs, rags etc.

marblingworkshop marblingworkshop2 workshop3



SEWING MACHINE MAYHEM Tuesday April 21st from 10.30 am onwards

An induction workshop into the mysteries  of the sewing machine, hosted by Katherine Tulloh, from learning to turn it on to curtain making. There is one machine available, so interested participants are welcome to bring their own to be part of a sewingfest. There's lots of offcuts available to practice on.



Door Knocker Project 19th - 22nd April

Ornament and function. The materials serve a purpose and create a meaning. They have a life before they go on display. Have existed in other materials and gone through transformations.These are nascent. Plaster is a material that is often a ghostly stand-in, a support,  a former of a pattern. Easily molded, and sometimes the mold. It has passed through many hands for millennia. The story of its handling can be read in the often unseen back-side. The Italian Maestro has just left the room as I look at the back of a Victoria and Albert Museum Plaster cast. The front view is closed and mimetic. It should hang from a mechanism. Meanwhile it hangs from a nail. Not with a granny knot it’s a reef knot, or a picture wire twisted as instructed.Welcome gallery visitor, no need to knock, just step right in. Irene Gunston



Skill Sharing Workshop Thursday 23rd Friday24th Saturday 25th  - two drop in sessions a day (11am -1pm, and 3-5pm)

Cuttlefish Casting with Irene Gunston

Casting silvery low metal alloy into personalized cuttlefish molds. An accessible way to make a small, metal casting. Cuttlefish bone is the bone of a cuttlefish, a fish related to the squid and Octopus. The bone is easy to carve and is very porous making it ideal for casting as the displaced air within the mould at the time of pouring is expelled through the capillaries of the bone.  Every mark is transferred to the cast so great care must be taken when carving out the mould. Please bring aprons and sensible shoes, and £2 to cover casting costs. The workshops will be limited to 8 people at any time. Some will be finished in half an hour, others may take longer....






The London Golden Door Frame is an artwork made for the launch of Woman House, an evolving 
collective of feminist artists, writers and academics, at the exhibition Woman House at RCA Project space
Riverlight Quay, Nine Elms Lane, London SW8 5AU  . 

Proceeds of the sale of shares in the London Golden Door Frame will be used to provide funds for the collective and it's activities, 
as well as the completion of the first part of the real house itself, the door frame of Woman House. 


The London Golden Door Frame will be collectively owned by all stake holders. 

The starting share price is £2 per share. Each stakeholder will receive a share certificate and 
her share in the London Golden Door Frame  will be represented by a leaf of gold 
on the frame. 


Shares in the London Golden Door Frame  can be traded on the condition that 
10% of the profit achieved with a sale of shares  will be transferred back to Woman house project. 

The Keeper of the London Golden Door Frame manages the sale of shares. 

Shares will be available to reserve from Sunday, 26th of April 2015. 
Please register your interest by emailing the Door Keeper : 

To receive a share certificate and watch the gilding of the frame, please come to RCA project studio,
Riverlight Quay, Nine Elms Lane, London SW8 5AU at the sale days: 

1st of May 2015  from 4pm -7pm - Launch sale
7th of May 2015 from 4pm - 7pm 
15th of May 2015 2pm onwards  Closing sale 


Event  Thursday 7th of May,  7pm  

Are you frustrated by the challenge of how to reconcile motherhood with work and creative ambitions?

We invite you to contribute your thoughts and insights to a Wellcome Trust project exploring the future of fertility and family planning in a workshop and discussion

Sarah Douglas and Amanda Gore


Project Summary
The difficult balance between satisfying personal career aspirations and the call of motherhood remains a challenge for contemporary women. The radical decision of trend-setting companies such as Apple and Facebook to include egg freezing in benefits packages is bringing this profound problem into immediate focus. Society at large, and women in particula, are ill-prepared to evaluate these radical new proposals. They are at once beguiling – offering a new dimension of freedom for women potentially as fundamental as the 'Pill'.  However, the reality of an egg freezing future is shrouded in obscure scientific detail, and possible misinformation. Companies like Facebook have already demonstrated their ability to revolutionize society, so will egg freezing be a certain future for younger working women?

The aim of our project Timeless is to inform and engage young women in their life decisions relating to social egg freezing and fertility, whilst raising public debate on the wider ethical and societal implications that these exciting advances in biomedical science present - issues including later-life parenting and gender equality. Timeless is led by engagement consultancy The Liminal Space and supported by an advisory group of leading experts in reproductive technology and social science.

Designed to echo the brands women consume, Timeless will 'pop-up' for 10 days in a busy London retail space, offering an imaginative intervention in the daily marketplace. Shoppers will engage in an immersive curated experience to include products that provoke, interactive content that connects, and a full program of live talks that educate and empower.




Thursday 14th May 7pm

Points of view: The Geometries of viewing – A talk by Hermione Wiltshire


Open legs; an animal angle of viewing that is shared in health, art and pornography but deployed differently. Midwives are the few who view birth from this angle.  Historically, the view from between parted legs denotes an erotised view as in the drawings of Auguste Rodin, Hans Bellmer, Marcel Duchamp, and Balthus.  Imagined and represented by desirous male artists, the genitals are foregrounded and the head of the figure is less prominent or at times absent, one of the most infamous examples being theL’Origine du Monde (1866) by Gustave Courbet.  In the context of 1970’s feminism, the gesture of starkly referencing genitalia is a different one, challenging the mechanics of representation at stake for women artists.  Here I am thinking of ‘She’ (1966) by Niki de Saint Phalle, ‘The Dinner Party’ by Judy Chicago, ‘Birth’ (1994) by Louis Bourgeois, the sex pictures after 1991 by Cindy Sherman, ‘Terribly wrong’ (1997) by Tracy Emin. In this talk I will rehearse the mechanics of the male gaze and gestures of defiance that seek to overturn them. H.W