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JANINE ANTONI: A rope is an umbilical[br]cord, you know.

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It's something that connects two things.

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Which sort of is what Moor is about.

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It's about all these people being, [br]you know, my life sort of connecting

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all these people. The idea was to take all[br]these very different materials,

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but also lives, and sort of bring them

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together through the rope making process.

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My mother's fall I put in there.

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And then my friend Pat made this piece[br]with hammocks,

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so that's what this is.

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Another friends' piece, Doug,

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this is his Hi8 tape that we took apart.

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And this is sort of my favorite section;

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this is the section of the grandmothers.

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This red dress is my father's mother's [br]Christmas dress...

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I wonder whether the viewer can in some[br]way

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uncover these stories through their [br]experience of the object,

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whether these stories are somehow held[br]in the material.

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Melissa: With a lot of the material what [br]was done is they were cut up into strips

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or say if it was an electrical cord it was[br]taken apart

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and all the wires inside were taken apart,

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and then twisted together with other [br]materials to create a rope.

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Since I was a little girl, my mother and [br]I would make things together,

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actually the whole family would make [br]things together.

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And I love the handmade in any form [br]it takes.

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There's so many objects that we come into [br]contact with

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that we've lost a connection to what [br]they're made of,

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who made them.

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So that's really important for me to sort [br]of, in the object, on the

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surface of the object, somehow give [br]you a history

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of how that object's made its way into the[br]world.

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To make this piece what I did is I dipped[br]myself in a tub of lard.

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The piece is called Eureka and it was [br]inspired by the story of Archimedes.

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And Archimedes was asked by the kind how [br]much gold was in his crown and he

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was killing himself how can he measure [br]capacity?

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Well he's in the bathtub one night

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and he realizes that his body is [br]displacing the water in the tub.

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He gets very excited, jumps out and [br]screams "Eureka."

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It seems to me that Archimedes's body was [br]the tool for the experiment,

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just as my body is the tool for making.

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But most importantly is this idea that he [br]came to this knowledge through

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the experience of his body.

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And that's why I do these kind of extreme [br]acts with my body.

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I feel that the viewer has a body too and [br]can empathize with what I've put

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myself through to make the artwork.

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To me so much meaning is in how we choose [br]to make something,

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both in art but in all objects that we [br]deal with in our lives.

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I kind of think of the work as like the [br]viewer is coming in on the scene of a

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crime. And I've left all these clues for [br]them to uncover.

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I did this show and the exhibition space [br]was connected to a dairy farm.

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So right away I said can you give me [br]a tour of the barns.

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And I noticed that troughs are made out [br]of tubs.

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I thought what if I take a bath, will [br]the cow continue to drink,

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thinking that you know I've drunk from [br]the cow my whole life

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and I could sort of create this[br]relationship.

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Well cows are very curious, they all came,

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started drinking, and it almost reversed [br]the whole relationship.

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She looks like she's nursing from me.

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And the title of the piece is 2038 which[br]is the tag in the ear,

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and the reason I chose that is I felt that[br]that epitomized our relationship to the

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cow, that it was almost like a hardly [br]an animal anymore,

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but a biological machine and I wanted [br]that to contrast the kind of tenderness of

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the image. I was really thinking about um [br]the Virgin Mary and these images

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we know of her.

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Like the Virgin Mary is not allowed to [br]do anything physical.

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No sex, she doesn't get to die.

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The only thing she's allowed to do is [br]nurse.

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And I was thinking about how does that [br]image affect my ideas of motherhood

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and that sort of idyllic moment that we [br]know from those paintings

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but also from Pampers ads of mother and [br]child.