ABSTRACT
Constructing an oddly visionary paradigm of geographical and social pastiche, Woodman's appropriation of her friends and their bathrooms as local objets trouvés leverages and complicates our access through allusion to the Porch of the Caryatids. Woodman's links to other young women and her use of images of their bodies interchangeably with images of her own body create an architectonic language, a formal pattern shaping Blueprint for a Temple as a work in which content and medium are uncannily crossed. The idea of a 'feminist utopia' portrayed in Woodman's work, put forward by Jennifer Blessing is immensely appealing and related to my sororial concerns. In creating her flat paper Blueprint for a Temple, Woodman taps the paper doll femme, an indeterminate and queer zone of the feminine. She plays with this rather frightening femininity, the girl as paper doll in creating caryatids who are culturally legible through their peploses, their garments.
