For Irigaray, blood is simultaneously metaphorical and literal, a foundation of female sense and sexuality. She writes, “[y]our blood is translated into their senses” (1) which refers to a wordplay between sang (blood) and sens (sense/direction) which extends the parallel between sexuality and writing. Irigaray’s celebration of menstrual symbolism creates an inter-textual link with Helene Cixous and her notion of Écriture Féminine, which literally means ‘gendered women’s writing.’ Therefore, menstrual blood becomes a pigment that embodies the creative value of women.
Spanish artist Isa Sanz’s photographic self-portrait, Alquimia (Alchemy) (2007) depicts the artist with blood between her fingers as she writes the word amor (love) on the wall. The blood ink comes from the fountain of menstrual blood that cascades down her legs. This creative deed becomes an ‘alchemy labour’, a purifying act where the abject transforms into clean fluid, a natural feminine essence. Using blood to inscribe the body parallels another artist, Cuban Ana Mendieta in her performative painting, Untitled (Blood Sign) (1974) she scripted in blood ‘She got love, there is a devil inside of me’. Sanz creates homage to the Cuban artist because of their joint concerns of the cyclical nature of life birth, death and re-birth and through the use of the body as a medium for expressing in blood.
(1) Luce Irigaray, ‘This Sex which Is Not One’, in Writing on the Body: Female Embodiment and Feminist Theory, eds., Kate Conboy, Nadia Medina and Sarah Stanbury, (New York, Colombia Press, 1997), 69.