This autoethnography, which investigates how the fetus form became a theme of my work, reveals that there was a dimension to working with this form that I was not aware of and which eventually dominated my artistic practice, until I quit practicing art altogether. I move on from there to my early drawings that depict the fetus as a singular form when I became a 'creative patient' of gynecology, reflecting back on my large-scale collages that visually merge fetuses with phalluses, through to my video and performance work with pregnant women, after which I gradually stopped my entire artistic practice. I begin the autoethnography by exploring how I learned as a child what a fetus can look like by being around my grandfather, who worked as an obstetrician. This thesis is an attempt to understand, through the autoethnographic method of connecting the personal to the cultural, the wider implications of visualizing the fetus in isolation from a pregnant body. In a quick sketch of a fetus explores my artistic work with the iconic image of the fetus and its consequences for my sense of self as a woman and as an artist. Text (In a Quick Sketch of a Fetus - Full Version)ĪRT_thesis_Gonzalez SueroA_2022_FullVersion.pdf Permissions: Administrator Access Only until 31 December 2025.Īvailable under License Creative Commons Attribution Non-commercial No Derivatives. Text (In a Quick Sketch of a Fetus - Redacted Version)ĪRT_thesis_Gonzalez SueroA_2022_RedactedVersion.pdf Doctoral thesis, Goldsmiths, University of London

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