My work is seating from a point of deep domestic discontent and the dual pursuits of the traditionally feminine bumping against our 21st century reality.
The work is situated against a deep longing for a fantasy life and cognitive dissonance between the realities and tumult within the home. The work embodies and reflects that: 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 delineation 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.