Statement

My work is seated from a point of deep domestic discontent and the dual pursuits of the traditionally feminine bumping against our 21st century reality, probing how desire functions in a domestic sphere stratified by gender and class. The work is a fever dream situated against a deep longing for a fantasy life and cognitive dissonance between the realities and tumult within the home teetering between layers of attraction and revulsion, desire and desperation, deep resentment and hostility and a “phantasy.” The work feels disjointed, discombobulated; recognizable and rendered real but neutered of all utility, flaccid, devoid of use and ability, and simply –or hostile– asserting its “unuse” amplified by our understanding of potential. The scale shifts cue you into a feeling that something is wrong or off things aren't as they seem or should be exemplifying a surreality. 

 

A thematic subtext of my work revolves around cleaning, caregiving, and labor. These cycles of domestic labor and the abject (within the work I employ the definition of “abject” as the point where there is a breakdown in the delinitation between self and other), with particular attention given to the body and role of cleaning or caregiving. Conceptually, the work surrounding feminist labor is increasingly focused on a subtle and persistent revolt as it examines the mundane within domestic discontent. The works subvert the aesthetics of the Laura Ashley-clad midwestern family: syrupy and quixotic in a palette that reflects an exaggerated, cloying sweetness while maintaining a cheapness or artificiality. I continue to employ Kristeva’s theories of the abject within my work with a focus on the tension between attraction and revulsion in addition to the leaky body, or the idea that the female body in its intrinsic permeability is not fixed, clean, or secure. 

 

Cleaning for the sake of hygiene

Cleaning for the act itself

Cleaning as obsessive escape

Cleaning as an avoidance tactic

Cleaning as a means to enact control

Cleaning to manage and hide the chaos

Cleaning as obfuscation

Cleaning as cues to that which is left untouched, unclean, unsaid, and undone

 

The work is often entirely futile and self aware of the innately flawed logic,  using the tools and language that enrages me to push against the source. The work is inherently compulsive and fretentic while being both fun and deeply flawed. 

 

When tackling the heavy parts of our lives –or simple drudgery and disappointment– I need to have some fun materially, some fulfillment and moments of radical joy. I’ve been unintentionally making work about class and gendered poverty from a position of lived experience. Not with a laser focused clarity or awareness of my intentions and material choices but from within what Bourdieu would call a subordinated position as “the working-class ‘aesthetic’ is a dominated aesthetic,” because I’m trailer trash that likes shiny things and trashy things and nacho cheese. When I was young the older girls at the bus stop were the most glamorous and enviable people in the world, with 3 inches of dark roots sprouting from their head where lank, over processed, straw-like bleached hair (straight from the box) framed their heart shaped faces. I want my work to be the prettiest girl in the trailer park too.