29th July’19  Today it is 10 years ago that I had a mastectomy and started out on my one breasted a-symmetrical life…

Today it is 9 years ago, that my brother had a star registered and named after me, to celebrate one year after BC ; the star is called ANNA ANNA…twice my name…emphasising that with all my imperfections and vulnerabilities,  I still can shine bright.

“How interesting ; ‘Anna Anna’ symmetry, circular-ness and doubleness…like breasts…if words were breasts would they be   ANNA ANNA ?”  Nina Gerada

“You’re a star and a palindrome! Asymmetrical love,xxx”                   Claire Collison ( one breasted too)

“…when my sister died, we named a star after her. It’s called ZORUMA (Zoe Ruth Marks) in the constellation of Cassiopeia. I love it.               Katie Marks

With love and gratitude to Nico, Wilma & Len


Nipples United

Whatever gender we are or identify with, a woman (cis/trans), a man (cis/trans), a non-binary individual, we all have Nipples.

In early fetal stages, all embryo’s are equipped with nipples. After an embryo is conceived, it is kitted out to become either sex, male or female. This is called it’s Bipotential State. During the first six weeks, certain pre-organ structures are laid down, including two parallel milk ridges. Born of ancient genes and common to all mammals, these ridges run up and down the length of the torso. If the fetus inherits female XX genes and the process unfolds in the expected way, then oestrogen will turn the primitive plumbing into a female reproductive tract. If the foetus inherits male XY genes, testosterone will inhibit that progression. But the nipples remain. ( from ‘Breasts, a natural and unnatural history’ by Florence Williams)

The nipple is at the center portion of the breast, and in females is linked to the mammary glands where milk is produced during pregnancy. The areola is the darker colored area surrounding the nipple. The little bumps around your nipples are hair follicles, which both men and women have. (I have been plucking nipple hair since my teens).

Nipples can be flat, protruding, inverted or a combination of these nipple types. The size of women’s nipples apparently varies much more greatly between individuals than the size of men’s nipples. (Medical News Today 30June2018 By Maria Cohut).

Also the colour of nipple and areola can differ greatly. Although according to Jane Sharp, a 17th Century midwife who wrote the Midwives Book or the Whole Art of Midwifery, “Nipples are red after Copulation, red as a Strawberry, and that is their Natural colour”. (from ‘Whores of Yore’, a curious history of Sex).

Some people are born with two nipples on one areola, Bifurcated Nipple, and some have Supernumerary Nipples, a condition where further nipples have developed anywhere else on the body. Supernumerary nipples, and less frequently supernumerary breasts, seem to be present in about 1-5 percent of the population. These alterations are more common in women, usually occurring along the embryonic milk line, which extends from the axilla to the groin.

But then I read about a 22 year old woman, who had developed a well formed nipple with areola on the sole of her left foot, with proper breast tissue and all. Such unusual and rare cases of Supernumary breast tissue are also known as Pseudomamma, (from Dermatology Online Journal 2006

French Artist Claude Cahun seems to use the nipple as a device to question gender in the above image. Born Lucy Schwob in early 20th-century France, she decided to call herself Claude Cahun, in France a name which can refer to either a man or woman. Ambiguity was her tool, her way of exploring gender and sexual norms through her photography and writing. “Masculine? Feminine?” she wrote in one of her books,“It depends on the situation. Neuter is the only gender that always suits me”.

Anna Versteeg


Female Nudes


It was long after I drew a nude self-portrait in front of the mirror that I realised why that drawing felt a bit awkward ; the bust was missing its right breast whilst I lost my left one ; I had been drawing my mirror image.

The female nude is one of the great traditions of western painting. I don’t think that the women in these paintings are typically nude because it makes sense for the narratives in which they’re depicted, but rather that their nudity is arranged by and for the (presumably) male spectator.

In his seminal book ‘Ways of Seeing’, John Berger points out that this entire system of gender relations is founded on a huge instance of hypocrisy: it presumes that the (male) spectator is a subjective individual, while denying the (female) subject any individual agency.

Berger states that from earliest childhood women have been taught and persuaded to survey themselves continually. “Men look at women. Women watch themselves being looked at.” “Men act” whilst “Women appear“.

This inequality and pressure on women is tangible all around us, just look at advertising, social media and reality TV. I wonder how we could use our ‘surveying skills’ in a more empowering way then for pleasing others and conforming to expectations.

Standing naked in front of that mirror, I had stopped doing anything else. I had halted my brain from joining the dots and making assumptions. I was surveying the moment and my reflection. With our clothes removed we cannot lie. I had created a space to explore my lopsidedness ; the damage and the wholeness.  I was not doing this for anyone else but myself.

Drawing from life is a subtle, acute and thoughtful engagement with – and understanding of ourselves and the world around us. It makes us focus on the real beauty that is, not what is expected.

Women drawing female nudes, self-portrait or modelled, are addressing the classic duplicity of the old masters and inspire us to observe and focus on real beauty. Stop, look and listen…

Anna Versteeg

Female Figureheads & Bare Breasts

Every profession has it’s customs and superstitions, but mariners seem to have more than their fair share.

An old sailing superstition was that women on board ships were considered bad luck. However if the women were naked, they were considered good luck ; Mariners believed that a naked women before the ship had the power to calm gales and high winds and for this reason many a ship’s figurehead took the shape of a woman with one or two bare breasts.

Images of women have always played an important role in sailors lives. The Phoenicians, Egyptians and Romans already carved and painted female symbols on their vessels to protect them at sea.

The practice of figurehead carving reached it’s height during the 19th century. Images of Greek and Roman goddesses and other women became popular subjects for ship carvers. To the end of the century, it became common practice for a ship owner to commission a figurehead with the likeness of his wife or daughter.

Beginning of this year (2019), the restored wooden figurehead from the Royal Navy ship HMS Arethusa (1849) has been Grade II listed on the advice of Historic England. This figurehead is a rare survivor of the Crimean War and seen as an important symbol of Britain’s maritime heritage.

HMS Arethusa was named after a sea nymph from Greek mythology who fled her home in Arcadia under the sea and came up as a fresh water fountain in Sicily.

This wooden figurehead was carved by James Hellyer and Sons of London and Portsmouth, who had a long tradition as ships’ carvers. The  3.5 metre high painted female bust, wearing an early Victorian period dress,  has her right breast exposed, ready to calm any storm at sea…

Anna Versteeg

Breasts & Beards

Whilst in Wales for Easter last weekend, I couldn’t resist revisiting Plas Newydd, the home of the celebrated Ladies of Llangollen.

In 1778, Sarah Ponsonby ( 1755-1831) and Lady Eleanor Butler ( 1739-1829) finally managed, after a few unsuccessful attempts, to escape (dressed as men) from their ‘miserable’ domestic (upper class conservative) circumstances. They left Ireland and after some touring settled in the scenic Llangollen area. Their aim was to live in retirement from society, a fashionable ideal promoted by Rousseau and other French natural philosophers in the time. The couple became an added curiosity to the attractions of the area and regularly received celebrity visitors including royalty, artists, writers, politicians and rich industrialists.

Inspired by the romantic and picturesque landscape in which they lived, and taking delight in things more obscure and folkloric, the Ladies set out to ‘gothicize’ their house. Whilst many of their contemporaries replaced the heavily carved oak of past times with more delicate designs, reflecting the elegance of the new Georgian and Regency style, the Ladies gratefully received  the discarded woodwork, which arrived by cartloads at their home.

This mass of architectural salvage and dismantled furniture was assembled into a glorious patchwork of richly carved oak, surrounding windows, doorways and fireplaces and enveloping hallway and stairs to an overwhelming sculptural effect.

It was in this wood panelling that I noticed some of the figures simultaneously sporting a moustache and pronounced breasts…the clear sexual identification of the female Caryatides and the male Atlantes, adaptations of classical architectural features popular in 16thcentury woodwork, seemed to have unravelled and fused here.

This reminded me of the painting by Neapolitan artist Jusepe de Ribera, depicting local celebrity Magdalena Ventura, also known as La mujer Barbuda (the bearded woman), breastfeeding her baby (1631).

Ventura crossed gender boundaries and defied norms. We might hail her as an advocate of gender fluidity, but in those days she must have been more of a freak, judged and ridiculed, at best a curious anomaly at odds with the idealized image of the lactating Virgin. But instead of being depicted as a monstrosity, like the bearded ladies in Victorian freak shows, Ribera paints her as a strong human being and gives her a tender dignity. The artist paints what he sees without judgement ; a mother who happens to have a beard. She is unique, aren’t we all?

Harmaan Kaur is a modern day Ventura, holding the world record as the youngest woman to have a full beard.After enduring years of bullying, Kaur has turned herself into a body confidence advocate, model and Instagram star, upending gender norms and beauty standards as she goes. At 12 she had been diagnosed with polycystic ovaries, causing thick facial hair. After years of torturous waxing and threading in beauty parlours, she decided at 16 and at her lowest point, to embrace her facial hair.

Amongst the abundance of stereotypical female breasts in the Ladies’ woodcarvings, which come in all kind of curious shapes and forms, I most enjoyed the ones where convention was challenged, where liberated from gendered expectations, I could just enjoy what was there.

The Ladies themselves challenged convention and left everyone guessing regarding the nature of their ‘friendship’, was it platonic or were they lovers? Does it matter? What matters is that they followed their own dreams and determined their own lives!

Anna Versteeg


I was very fortunate to be introduced to the anthropologist  Caitlin Samsworth  and her brilliant  dissertation on ‘Breast Milk Jewellery’. (

Jewellery is a common accessory which people have used globally and throughout history to mark and symbolise aspects of their lives; “ engagement rings symbolise love, weddings bands signify commitment and medals represent courage”.

Breastmilk jewellery is made bespoke from a small amount of the client’s freeze dried breast milk, set in clear resin and shaped into beads or ‘stones’ which form the base of the piece of jewellery.

By commissioning such a piece of jewellery, women mark the transition from the pregnant body, via breastfeeding back to ‘normal’. These objects can also help to deal with the loss experienced when breastfeeding has finished. “The liquid is made into solid, the process into tangibility, the finite into infinite and the experience into memory”.

Samsworth notes that breastfeeding represents a liminal stage and that  breastmilk jewellery makes memories of that period tangible, not only giving them some kind of permanence but also providing recognition for the mother’s efforts ; there is a general lack of recognition that breast feeding is heavily affected by the social environment. It’s not a simple action existing independently from any wider context; it requires a lot of personal effort and navigation around obstacles.

It was not only the fascinating concept of breast milk jewellery that intrigued me, Samsworth’s work also sheds some light on the roots of the negative perception around breast-feeding in the public realm. When breast milk crosses the boundary between domestic (female) and public (male) space it challenges social order and expectations regarding the female body.

She argues that in the phallocentric West the breast has become one of the ultimate signs of femininity (fetishized and objectified). Whilst the ideal maternal identity (Virgin mother with Jesus at her breast) is associated with breast-feeding, the breast itself is a highly sexualised body part. The lactating breast therefore challenges notions of ‘sexiness’and creates a paradox.

In the same way breastmilk jewellery marks the act of breast-feeding, the beautiful silver jewellery Vladislavna Jewellery recently designed for the BBookproject, marks the loss of a breast and celebrates the remaining one.

Anna Vladislavna, St-Petersburg,   Instagram ; vladislavna_jewellery  

Photography @milesleydude & Art Direction @studiomacki


Absence   /ˈabs(ə)ns/

Since losing a breast I have been regularly contemplating the concept of Absence. Something that was but no longer is, does not just vanish, itstays present in our mind and being. It confronts us with a sense of having to do without, a feeling of incompleteness and an itchy inkling that something is missing. And although I’ve come to love my new asymmetry, a sense of absence remains, an ever present nostalgic kind of notion.

Whilst exploring the idea of absence, I found out about Amastia, a rare medical condition wherein the normal growth of the breast never takes place. They are congenitally absent. There is no sign whatsoever of the breast tissue, areola or nipple. Images of these breast-less chests reminded me of fields covered in fresh snow and conjured up an overwhelming sense of innocence and peace… An intuitive reaction illustrating once again the complexity connected to breasts and nipples.

Amastia can appear unilateral (one sided) and bilateral (both sides).

Amazia is a similar condition, wherein breast tissue is absent but here the nipples are present.

A rather poetic early description of Amastia can be found in the bible : “We have a little sister, and she hath no breasts

(Song of Solomon VIII:8).

Anna Versteeg

Mothers Day

As I, the Mother, have an ‘obsession’ with Breasts, and my son Finn an obsession with good Food, we decided to combine the two for some mothers day action;

I retrieved an ‘anatomical-breast-section-cookie-cutter’ from my Curious Breast Collection and Finn set out to produce some gluten and dairy free specimens. The cutter posed some serious challenges but as ‘ never give up’ is our family motto, he produced some beautiful biscuits with a ‘hint of citrus and whiff of vanilla’.

Whilst visiting our artist friends Tszman @zimachan and Antonio @antonionodar in Galicia (Spain) a few weeks ago, we spotted a white & blue ceramic beer pump in an old café in Santiago de Compostela; a female bust in a deep blue and brilliant white, both her breasts emphasized by a typical Galician pattern (reminding us of radiation warning signs). A beautiful example of  Galician Sargadelos Ceramics (since 1806).

As many of our friends are bemused by my interest in breasts, Tszman and Antonio were keen for us to sample another typical Galician product, the Tetilla cheese. Made from local cows milk, it’s flavour is creamy and slightly salty, with a fine texture and a yellowish ivory colour, but undoubtedly its greatest characteristic is the peculiar breast-like shape that gives it its name (small breast).

And Miki @mikithlowe, who was recently working in Madrid, introduced me to Tetilles de Monja, petite breast shaped biscuits, apparently resembling ‘ nuns breasts’.

Whilst on the other side of the globe, Australian ice cream company Gelato Messina has designed breast shaped ice creams to accompany a short film titled Lick Lick Blink by Australian artist Willoh S.Weiland. The performance hopes to explore cinema as a social space, and wants to leave you with lingering questions about gender and representation. The ice creams themselves aim to encourage viewers to consider how they consume women’s bodies on screen – in this case via a very literal consumption. Lick Lick Blink will be screened at the Museum of Contemporary Art, Sidney until June’19.

Anna Versteeg

Breast Academic Event

Thank you to King George Hospital, BHR University Hospitals, for inviting us to their Breast Academic Away Day this week. An enlightening event with an array of speakers providing us with insights into the world of breast cancer, surgery, pathology, radiology, nursing and more.

When I presented the BBookproject, I felt like a ‘velvet berry’ amongst the ‘white coats’; illustrating, with an eclectic series of references, how Science and Medicine as well as Art and Culture play a pivotal role in our perception and experience of Body, Health and Wellbeing.

With BBookproject’s interdisciplinary and inclusive approach we intend to trigger people’s curiosity and inspire them to see beyond debilitating standards of visual perfection and medical fear.

The presentation was well received and we were even rewarded with the Certificate for Winner of the Best Presentation…!!!

Apart from great Talks and a delicious Lunch, it was the Quiz that brought out the competitive spirit. Although I was obviously not able to shed any light on the pathology and MRI imaging questions, when it came to naming all the women pictured on the front of the programme I felt more in my element; from Mary Anning (English fossil collector and palaeontologist, Dorset, England 1799-1847) to Sheryl Crow ( American musician, singer-songwriter), from Frances Burney ( English novelist, first to describe first hand her mastectomy, 1812, without anaesthetic !) to Angelina Jolie (American actress, filmmaker, and humanitarian), all these women have been affected by breast cancer.

A big thank you again to all at St George Hospital, for tirelessly helping women and men with Breast related issues, and their commitment to continued improvement of procedures, prevention and care, even in the current climate of debilitating cuts and savings.

Anna Versteeg




Indu Harikumar, Mumbai based Indian artist and story teller, has been working on a breast related art project called “IDENTITTY” since Jan’19. The artist, who has already instigated several projects exploring sexuality, gender and body image issues, developed this idea from an Instagram conversation she had with a large breasted woman who complained about how men only seem to see her big boobs whilst the artist herself has always felt inadequate because of her flat chest.

Harikumar posted on Instagram asking women to proudly share their breast stories and send a colour image of their bust for her to turn into paintings. They could choose whether to be painted naked or dressed in “a bra, lace, fabric, sheer, flowers, henna…” and whether to appear with their faces visible or concealed. The responses from across India have been overwhelming.

She is not only changing the narrative around breasts with her paintings  but also starting significant conversations by putting social media to its best use. All within a still largely conservative society where women are expected to dress modestly, only the very daring might show some cleavage, which makes the project even more exciting and provocative.

So it’s hard to believe that until 1924 a Breast Tax (Mulakkaram) was imposed on lower caste Indian women in Travancore ( Kerala) if they wanted to cover their breasts ! I first heard about this tax during one of Claire Collison’s wonderful “Intimate Breast Tours”. These women were not allowed to wear clothes covering their upper body in public. The law stemmed from Travancore’s tradition of baring the breast as a symbol of respect to higher-status women who would cover their chest. It has been claimed that a woman called Nangeli cut off her breasts when the tax collector came, instead of giving him the money, in an effort to protest the caste-based breast tax. Although Nangeli died the same day, the breast tax was abolished soon after.

From small to big, veiny to hairy, fake to pierced, lets rejoice in our boobs, free from shame and stigma, objectification, harassment or censorship.

So here’s to a Tits Up for all boobs.

Anna Versteeg