FAQ
How did the artist get the idea for the Beautiful Women Project?
When her 13-year-old daughter commented that a friend was saving money for breast implants, Cheryl-Ann Webster began investigating the idea of body image. She discovered that not only were breast implants the most popular graduation gift for American girls in 2003, but 7 & 8 year olds are being hospitalized with eating disorders. She realized that virtually the only role models girls have for their bodies is what they see in the media. She decided to use her art to show young girls that beautiful bodies come in all shapes and sizes.
How many sculptures are in the exhibition?
There are 120 sculptures in total. The size of the gallery determines how many sculptures can be displayed during each exhibition.
What are the sculptures made of?
They are all made from white sculptor’s clay with multi-media surface treatments (glazes, acrylic paint, paper, leather, fabric, CDs).
Did one person create all the art?
Yes, all the sculptures are the work of Cheryl-Ann Webster, an Ottawa-area artist.
How were the sculptures created?
See The Journey
How did the artist find models for the project?
News of the project spread mostly by word of mouth. The women who volunteered to model come from mainly from Canada, but a few are from the U.S. and England. They represent a variety of races and ethnic backgrounds and come from all walks of life.
Why did the artist decide to decorate the sculptures instead of leaving them white?
During the research process, the test sculptures were left white because Cheryl-Ann was only interested in replicating the women’s natural body shapes. However, the white sculptures had a sterile quality that did not represent the vibrant women who volunteered as models. The 48 models with whom Cheryl-Ann consulted urged her to decorate the sculptures to represent their spirit because they believe that their personality, as well as their physical form, contributes to their beauty.
How did the artist decide on the surface treatment for each sculpture?
During the casting, the artist asked each woman why she decided to support the project. From the conversation that followed, Cheryl-Ann drew her inspiration for the decorations. The surface treatment of the sculptures represents each woman’s spirit or life journey.
Did the models have any input into how their sculpture was decorated?
No, none of them even saw their sculpture until the first exhibition. The women’s usual reaction was surprised pleasure. Many were moved to tears at the artist’s intuitive representation of each woman’s spirit.
Are the two sculptures entitled “Invasive Beauty” both of the same woman?
Yes, they are both sculptures of Sarah. The cast for the first sculpture took place three days before Sarah’s double mastectomy to fight breast cancer. The cast for the second sculpture took place eight weeks after her surgery. Both sculptures are decorated with ivy, but the messages are subtly different. The use of ivy is important because although ivy is beautiful to look at, the tentacles beneath the leaves actually destroy the brick and mortar underneath. Thus the title “Invasive Beauty”
There are two other sculptures with similar titles, “Caged Beauty” and “Caged Beauty 2: Less is More”. Are they the same woman?
Yes, “Caged Beauty 2” is a sculpture of the woman’s body after breast reduction surgery. She chose to have this surgery later in life, even though, for years, she had experienced severe physical discomfort that interfered with her regular activities. She was imprisoned by her own internalization of society’s association of motherhood with breasts to the point where she only felt comfortable having breast reduction surgery in middle age, after her children had left home.
Are there any pregnant women in the exhibition?
None of the models for the Beautiful Women Project were pregnant. The decision not to cast pregnant women was made because when a woman is pregnant, her blossoming body is celebrated. If a woman is not expecting, there is often a social stigma attached to having a larger body, despite the fact that some women’s healthy bodies are naturally larger. This stigma is reinforced when women who have recently given birth are asked if their body has yet returned to its normal shape.
What are the ages of the women who volunteered to model for the project?
The women ranged in age from 19 to 91 years. Young women under the age of majority were not considered.
Who benefits financially from the Beautiful Women Project?
The Beautiful Women Project is a not-for-profit venture, exhibited in public galleries so that the project’s message will reach as many people as possible. Donations and proceeds support future exhibitions.
Who is funding the Beautiful Women Project?
The Beautiful Women Project depends primarily on the generosity and support of the community. Currently, community groups and arts centres collaborate to fundraise and organize an exhibition. Initially, the Beautiful Women Project was privately funded by the artist and individuals who supported the project’s message. The Project also received two Exhibition Assistance Grants from the Ontario Arts Council, and $1000 from the Kingston Women’s Art Festival. T-shirts and greeting cards were used to generate funds.
How can individuals support the Beautiful Women Project?
See How can YOU help?
Will income tax receipts be issued for donations to the project?
When the Beautiful Women Project partners with a charitable organization, official receipts for income tax purposes can be issued by that organization. The Beautiful Women Project cannot issue its own tax receipts because it is not a registered charity.
Where will the Beautiful Women Project be exhibited?
See Exhibitions
How else is the message of the Beautiful Women Project being disseminated?
The Project is a teaching and healing tool. (hyperlink) Presentations and workshops are available.
Since the impetus for the Project was a comment by the artist’s 13-year-old daughter that a friend was saving for breast implant, what does her daughter think about the Beautiful Women Project?
Cheryl-Ann sought her daughter’s permission before she undertook the Beautiful Women Project. Although her daughter agreed, she was initially embarrassed by all the “boobs”, and even questioned her mother’s sexuality. However, when she had friends to the house for sleep-overs, and thought that her mother was out of earshot, Cheryl-Ann could hear her explaining the project to her friends. On seeing the exhibition, her daughter’s comments in the Gallery Guest Book were: “Changing the world one cast at a time. Good work.”
Has the Beautiful Women Project altered the artist’s daughter’s view of the need for drastic measures to “improve” her body (e.g. breast implants)?
In December 2004 when a local radio station offered a prize of breast augmentation for a Christmas contest, the artist’s daughter asked if she could apply. Although that may only have been teenage rebellion, the Beautiful Women Project alone is unlikely to change opinions any individual’s opinion bout body image. What is needed is to hear repeatedly that beautiful bodies come in all sizes and shapes.
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