NOMI, like “you don’t know me”, is the name that artist Zoe Buckman gave to the shadow aspect of her psyche when undergoing Jungian analysis. NOMI has been a constant source of power, creation, and resistance for Buckman. She has, however, at times been caged.
The limiting, regulating consequences of quarantine triggered memories of times when Buckman was held back, tied down, or put in a box by masculine forces in her life. Through depictions of the artist in deep, devotional prayer and raving with friends, coalesced with images of predatory animals, NOMI explores the nature of the ‘wild feminine’ and the Madonna/whore complex.
Trauma and the stains of past experiences have long been threaded throughout Buckman’s practice. This body of work is heavily influenced by the artist’s experience with EMDR, a form of trauma therapy that alternatively accesses the right and left sides of the brain. This movement of stuck, episodic memories from the prefrontal cortex of the brain appears in the form of ink, seeping through vintage domestic textiles. As the fabrics bleed, overtly and permanently, they reference both violence in the home as well as the religious, misogynistic adage: “Woman is a piece of silk, man a piece of gold. If you drop gold in the dirt, no problem. But if you drop silk in the dirt, it is ruined forever.”
NOMI contends this trope, displaying how even the most painful of stains may be transformed into symbols of resilience, ecstasy, and freedom.