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Stories from the Bishopsgate Archive

Alexandra Motiu

Profile picture of Alexandra Motiu

I am Alexandra Motiu and I make art under the pseudonym Moatzart, as a printmaker and illustrator.

I have a lot of experience working in the arts and culture sector, with a focus on marketing, sales and event management.

My work has pop art and surrealist art humour with an old masters' feel. My background is painting and printmaking. I am influenced by Dadaism and Surrealism, and my work is revelatory of internal struggles through disturbing imagery, as the grotesque and carnivalesque is endlessly fascinating. I aim to make hauntingly beautiful work that will stay with the viewer for a long time. I love stories, myth and folklore, and a lot of my work is very illustrative. Ultimately, people are my main inspiration.

I make limited edition linocut and wood engraving prints, as well as drypoint etchings and monotypes using a printing press. I also have an array of different products such as t-shirts with some of my funkiest designs, totebags, notebooks, bookmarks, stickers and more. 

I am Alexandra Motiu and I make art under the pseudonym Moatzart, as a printmaker and illustrator...

This is an investigation on protest, resistance, and worker's rights through stories of the past. Looking through the Bishopsgate Archive and focusing on three case studies, and the stories of the people involved, the aim is to find inspiration from the people who fought before us for how to keep advocating for our rights. It is important that these are made visible for us to realise that change has always been necessary and possible, though it does take (a lot of) work. We are made to believe that necessary measures protecting our lives and well-being at work would "disrupt" the "free" market. As economist Ha Joon Chang suggests economies have performed better with a strong welfare state, and the free market is a myth, as necessary restrictions have always had to be placed upon it (like child labour laws). This is something we can take for granted, so I aim to redraw attention to previous such cases in order to realise the potential for new wins.

The work made using the three case studies can answer different questions: 

The Wages For Housework Campaign (1970s - present) shows us how to organise a large group of seemingly unconnected people - women (a necessary example as we are more atomised than ever). The Murder of Altab Ali (1978) brings to light what the political mechanisms which keep us divided are and how they function, and also that the passing of one law does not fully solve an issue. The Wapping Dispute (1986) shows us why having means of organisation for workers is imperative (such as trade unions), as technological advancement shouldn't only benefit employers, an urgent issue when considering AI.

Final work

Pink flyer with large lettering "Wages for Housework"
Illustration of a woman with many hands holding multiple cleaning related objects. In the background her boss is illustrated as a crocodile.

Somehow, I hadn't stopped being a housewife. I got myself a new job in an office where most of the other people doing the same work were men. What happened? No matter what their 'rank' the

women in the office were expected to be the human face of the organisation. They were to be kind, attractive, and cool if the men made sexual advances. If someone was leaving, it was the women

who organised the party. Hours of each day were spent listening to the men's personal problems and encouraging them when the boss or the work got them down. This was exhausting and depressing. If

they wanted a woman at one of their business lunches, I was dragged along. Forget about the shopping. If they felt like easing the day's problems with a drink after work, of course I should go. These were the sorts of things they could demand of their wives and which helped them go on working. Here I was the company's wife. Like their wives, I wasn't being paid for that.

Talk done, off the men went to more support and comforting, to a warm house, cooked food, clean clothes. I was left to catch the corner shop before it closed, spending more on food than a house-wife cares to or a woman's wage can afford. Then home to a cold flat, meal to be cooked, clothes to wash, house to clean. And no comforting. That's what happens to the spare time that single women are said to have. You do the things that are going to make it possible for you to turn up at work the next day and the next day. Washed, fed, looking good, ready. That's where most of the evenings and weekends go. Housework has its use to employers, then, whether it's done as a job and paid for or whether it's done for yourself or someone else at home.

Waitress holding a plate with "smile" written around her head. A customer with the head of a pig tells her to smile.

Two Poached eggs and a smile

Waitressing is service work - it's seeing after people's needs and not only their eating and drinking needs. To some extent these other needs depend on the kind of place you're waitressing in – like in a Wimpy bar or local cafe where people are eating quickly and not spending a lot of money, the demands on the waitress are fewer. But in the restaurant where I work, which caters for rich tourists and the local middle and ruling classes, a lot more is expected of us as part of the job - serving food and drink is only part of it… people come in for a relaxing meal, which costs them a lot of money, so it's important that they be made to feel good. It helps if the food and drink are reasonable, but it's up to us to make them feel relaxed, so that they can enjoy themselves. For us this means several things: looking nice - if not sexy, at least clean and tidy, preferably with make-up; and being subservient and acquiescent, remember, 'the customer's always right.' It's a situation in which we're very much at people's beck and call and they take full advantage of that. We have to be nice to everyone who comes in, regardless of how they treat us. And it's important to be pleasantly subservient - we have to look as if we enjoy being exploited – and SMILE.

Illustration of black women in prison carrying huge baskets of laundry on their heads.

Research and process

A red outline of a woman, beside her is writing in red
Stories about 'A housewife's lament', with a female symbol in red

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Stories from the Bishopsgate Archive

This is an investigation on protest, resistance, and worker's rights through stories of the past. Looking through the Bishopsgate Archive and focusing on three case studies, and the stories of the people involved, the aim is to find inspiration from the people who fought...

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