Francesca Gabbiani's art explodes with color and luminosity, and challenges the viewer with emotions of beauty and terror, with echoes of mythology, ecofeminism and finally, community and excitement.
, a term first coined in the 1970s. Ecofeminist analysis explores those connections between women and nature in culture, economy, religion, politics, literature and iconography, and addresses the parallels between the oppression of nature and the oppression of women. It is often a politically charged term but perhaps unnecessarily so. As Catherine Taft noted, “Ecofeminism is for everyone. It is a philosophy, not a gender.
But the hopeful end to her film comes at a time when global attacks on female autonomy have erupted like social wildfire with abortion bans in the U.S. and religious suppression in Iran. Gabbiani and Taft remind the audience that at the height of its insanity hundreds of years ago, nine million “witches” were killed, feared for their knowledge. Traditionally, women have gathered to weave, cook, prepare plants, tell stories, preserve traditions and educate each other.
Reporting in the field, however, Goodyear and Gabbiani became acquainted with a force that became the subject of one of her powerful images—“Inmates Saving Our Lives,” a line of frontline firefighters, all women, and all incarcerated fire volunteers, from the prison cell to the front line, risking their lives, effectively fighting mega-fires and paid, “if at all, a dollar a day,” as Gabbiani marveled during her discussion.
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