Abstract

In the Western context of delayed motherhood and declining fertility, an array of fertility enhancements have emerged. While bioethical debates and literature on the technological prowess of these enhancements proliferate, it is useful to explore the lived experience of women undergoing them. This article uses Tabitha Moses’ artwork Investment, a series of embroidered hospital gowns, as a vehicle to explore lived experience of women engaging with fertility enhancements, including in vitro fertilisation. This analysis challenges dominant biomedical and corporate discourses framing fertility enhancements as benign. Using constructs of patriarchy, biopower, biopolitics (Foucault), and technobiopower (Haraway), we identify how power over women’s bodies is extended through fertility enhancements. Haraway’s notion of figuration supports the analysis. Understood as a tropic melding of semiotic and material, the figuration of The Infertile Woman offers a way to explore discursive operations of power and amid them the creation of a new form of reproductive labour.