Les Baby Blues

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Annie France Noël, “phases,” 2022

installation view of inkjet print on Hahnemühle fine art paper and acrylic paint, 23.4” x 8.3” each (photo by Leif Norman)

The world began experiencing a baby formula shortage this spring after the largest American manufacturer, Abbott Laboratories, recalled multiple brands and temporarily closed its Michigan plant in February due to reports of bacterial contamination. The plant reopened in June, only to close again nine days later after torrential storms caused flooding. Only now is it resuming operations. 

The formula shortage, particularly critical for infants with food allergies and certain medical conditions, is expected to continue through the summer, although it’s by no means certain the situation will improve in the fall. As a result, images related to mothers struggling to feed their infants have become particularly poignant. 

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Annie France Noël, “Nutri,” 2020

ripped inkjet prints on Arches paper and grease pencil, 32” x 40” (courtesy the artist)

Annie France Noël, a queer photo-based artist from New Brunswick, chronicled her own experience with breastfeeding two years prior to the formula crisis. Images of bottles and breast pumps, along with the documentation of how much milk she was able to produce, represent what became an “obsession.” As with so many others, breastfeeding was not easy for her, and her photographs speak to this disappointment.

On view until July 30 as part of her exhibition at Winnipeg’s La Maison des artistes visuels francophones, the images are part of an ongoing project exploring childbirth and its aftermath. The show’s title Les Baby Blues – which refers to postpartum depression – is made up of three sections. Nutri looks at breastfeeding, Partum reflects the trauma of labour and Fatigue evokes the emotional and physical exhaustion of parenthood. Through it all, Noël relays her desire to be cared for, while acknowledging she is now the caregiver. 

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Annie France Noël, “Count to ten,” 2022

inkjet print on Hahnemühle fine art paper and acrylic paint, 17” x 11” (photo by Leif Norman)

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Annie France Noël, “Four (Count to ten),” 2022

inkjet print on Hahnemühle fine art paper and acrylic paint, 17” x 11” (photo by Leif Norman)

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Partum includes a hospital gown and Noël’s own patient wristband. She doesn’t remember the entire process of childbirth but represents lost moments by removing herself from self-portraits in a blue gown. The background has also been excised, leaving only the anthropomorphic gown. These ghost-like images distill the pain, disorientation and isolation she felt while giving birth in hospital.  

Displayed alongside these works are images of a hand signing the numbers one to 10. Just like the portraits, the background is removed, which focuses our attention on the latex glove. It aims to evoke the pain women experience while pushing for 10 seconds during childbirth.

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Annie France Noël, “Les Baby Blues,” 2022

installation view at La Maison des artistes visuels francophones, Winnipeg (photo by Leif Norman)

A bunch of baby’s breath hanging on the wall provides a sense of relief among these uneasy images. As the plant’s name suggests, its placement creates space to breathe, relax and reflect. 

Les Baby Blues normalizes the challenges of breastfeeding and confronts the trauma of childbirth. By depicting her own vulnerabilities, Noël creates space for new mothers to feel seen and understood. ■

Annie France Noël, Les Baby Blues, at La Maison des artistes visuels francophones in Winnipeg from June 2 to July 30, 2022. 

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