Portal to the Wild Woman

Homecoming is not a destination—it is a remembering. This portal returns to land, instinct, and embodied truth.

Why this work matters:

Because the wild feminine was never tamed.

Because we are the earth.

Creations


Portal to the Wild Feminine

Land art | Collective Installation

Wick Farm, Somerset, UK

July 2025

Portal to the Wild Feminine is a site-specific land art installation created in the woods of Wick Farm, a landscape long associated with feminine, pagan, and witch-lineage energies. Formed from cloth, yarn, string, paint, and gathered natural materials, the work opens a symbolic threshold in the forest—an invitation to cross from imposed identities into the raw, instinctual essence of the feminine.

Rooted in deep listening to the land, the installation engages cycles of time, memory, and ancestral presence. It gestures toward women as once-wild children of the earth—bodies in rhythm with nature, intuition, and collective knowing. The portal functions as both a physical structure and a metaphysical passage, drawing attention to what has been forgotten through disconnection and the disciplining of feminine power.

The project was created collectively with the women’s group The Third Way, making the act of creation itself an expression of shared sovereignty and care. During the installation, LeDuc experienced significant fatigue and health challenges. The collective’s willingness to step forward and hold the work—both practically and emotionally—became integral to the piece. Being supported by other women was itself a wild reclamation.

Portal to the Wild Feminine marks a passage from fragmentation to wholeness, from endurance to embodiment, and from prescribed identities into the uncontained, cyclical, and deeply alive nature women have always carried.

Portal to the Wild Feminine

Land art | Collective Installation

Wick Farm, Somerset, UK

July 2025

Portal to the Wild Feminine is a site-specific land art installation created in the woods of Wick Farm, a landscape long associated with feminine, pagan, and witch-lineage energies. Formed from cloth, yarn, string, paint, and gathered natural materials, the work opens a symbolic threshold in the forest—an invitation to cross from imposed identities into the raw, instinctual essence of the feminine.

Rooted in deep listening to the land, the installation engages cycles of time, memory, and ancestral presence. It gestures toward women as once-wild children of the earth—bodies in rhythm with nature, intuition, and collective knowing. The portal functions as both a physical structure and a metaphysical passage, drawing attention to what has been forgotten through disconnection and the disciplining of feminine power.

The project was created collectively with the women’s group The Third Way, making the act of creation itself an expression of shared sovereignty and care. During the installation, LeDuc experienced significant fatigue and health challenges. The collective’s willingness to step forward and hold the work—both practically and emotionally—became integral to the piece. Being supported by other women was itself a wild reclamation.

Portal to the Wild Feminine marks a passage from fragmentation to wholeness, from endurance to embodiment, and from prescribed identities into the uncontained, cyclical, and deeply alive nature women have always carried.

Woman Is the Creator

Sculptural Series | Clay

Studio-based practice, inspired by travels in South America

March–April 2024

Hand-built Clay

Woman Is the Creator is a sculptural series inspired by Geneviève LeDuc’s travels in South America, where she encountered pre-Colombian female figures expressing ancient understandings of women as divine creators and keepers of life. Rooted in ancestral cosmologies, these forms offer a counterpoint to contemporary systems that have diminished and commodified feminine power.

Working directly with clay, LeDuc employs a deliberately simple, tactile, and intimate process. Each hand-built figure emphasizes presence, care, and embodied knowledge over refinement, with visible marks reinforcing continuity between past and present.

The series functions as both homage and reclamation. By reinterpreting ancestral forms, the work reconnects with erased lineages and affirms creation as a sacred, relational act. Clay becomes a living archive—holding memory and reverence—bridging ancient practice with contemporary feminist inquiry and asserting that woman has always been the creator.

Woman Is the Creator

Sculptural Series | Clay

Studio-based practice, inspired by travels in South America

March–April 2024

Hand-built Clay

Woman Is the Creator is a sculptural series inspired by Geneviève LeDuc’s travels in South America, where she encountered pre-Colombian female figures expressing ancient understandings of women as divine creators and keepers of life. Rooted in ancestral cosmologies, these forms offer a counterpoint to contemporary systems that have diminished and commodified feminine power.

Working directly with clay, LeDuc employs a deliberately simple, tactile, and intimate process. Each hand-built figure emphasizes presence, care, and embodied knowledge over refinement, with visible marks reinforcing continuity between past and present.

The series functions as both homage and reclamation. By reinterpreting ancestral forms, the work reconnects with erased lineages and affirms creation as a sacred, relational act. Clay becomes a living archive—holding memory and reverence—bridging ancient practice with contemporary feminist inquiry and asserting that woman has always been the creator.

The One Who Bleeds

Mixed Media | Photography | Embodied Testimony

This body of work confronts life inside a chronically bleeding body.

The One Who Bleeds is an unfiltered response to living with Hereditary Hemorrhagic Telangiectasia (HHT)—a genetic condition marked by recurrent bleeding, fatigue, anemia, and medical vigilance. The work does not seek sympathy, inspiration, or triumph narratives. It exists because the artist endures.

Blood is fact.

Fatigue is survival.

This project interrogates how chronic illness—especially when invisible—collides with expectations placed on women: to produce, to nurture, to perform resilience, to minimize pain. The work resists the cultural demand to be either “brave” or “broken.”

The One Who Bleeds

Mixed Media | Photography | Embodied Testimony

This body of work confronts life inside a chronically bleeding body.

The One Who Bleeds is an unfiltered response to living with Hereditary Hemorrhagic Telangiectasia (HHT)—a genetic condition marked by recurrent bleeding, fatigue, anemia, and medical vigilance. The work does not seek sympathy, inspiration, or triumph narratives. It exists because the artist endures.

Blood is fact.

Fatigue is survival.

This project interrogates how chronic illness—especially when invisible—collides with expectations placed on women: to produce, to nurture, to perform resilience, to minimize pain. The work resists the cultural demand to be either “brave” or “broken.”

Wild as Witness

Nature Photography

Various Locations

Ongoing

Nature photography as remembering. Mushrooms, clouds, flowers, paths—moments of belonging and return. These works reject extraction and reaffirm rhythm, decay, and renewal.

Wild as Witness

Nature Photography

Various Locations

Ongoing

Nature photography as remembering. Mushrooms, clouds, flowers, paths—moments of belonging and return. These works reject extraction and reaffirm rhythm, decay, and renewal.

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