[W]hen I wanted to represent something I love, I obviously represented a little penis. - Louise Bourgeois
This sentence has a note of endearment to it; so does the way Louise is holding a version of Fillette in a photograph taken by Robert Mapplethorpe in 1982. Fillette [French for little girl] is often described in relation to the mixed feelings she had about gender norms, masculinity, motherhood, and a challenging relationship with her father. As it dangles on a hanging ring like a piece of meat, Fillette incites a strong sense of vulnerability. Louise was cited saying: ‘From a sexual point of view, I consider the masculine attributes to be extremely delicate. […] They’re objects that the woman, myself, must protect. [I]t does not mean that I am not afraid of it. You negate fear like a lion tamer.’
Fillette originally came to life in 1968. The 60s and 70s were particularly important in feminist art. This is when female artists—Louise being one of them—came together to advocate for greater freedom in representing sexuality in their work. A movement led by Anita Steckel called for equal representation of male and female nudity in the museums, as well as for acceptance of sexual art as commentary on social, political, psychological and sociological matters. The group urged the art community to tackle sexism ruling the sexual representation of body and femininity.
The life and work of Louise Bourgeois pushed the envelope regarding all of these issues, and more, including the role of psychoanalysis in art. She believed that art can be a parallel form of psychoanalysis. This comes to light in this remarkable five-minute video of Louise peeling a tangerine. Do watch, I promise there is a little penis somewhere in there.