My
work explores the space between the extremes of feminine
iconography by overlapping, mixing, and highlighting the tension
between these constructs. My work is grounded in feminist inquiry
and investigation into the specific oppositional forces
traditionally used in the representation of female
sexuality.
This exploration uses the body, as site for art, an activator, and as an object. Through performances, installations, and performance objects—the props, costumes, and sculpture objects I have created that are used in the performance—overlapping icons of female sexuality creates a new space of uncertainty and interest.
Through performance I explore the extremes feminine iconography by appropriating and subverting stereotypes. I have been investigating the conflation of “hotness” or pornified female sexuality and empowerment. I have been tracing the rise in, what Ariel Levy has deemed, “Raunch Culture,” back to the initially subversive and radical actions of the Riot Grrrl movement. My work comments on the commercialization of “girlie” and the iconography used to sell “hotness.”
I created an electronic chastity belt that emits a non-lethal shock to those who touch it. It was worn in a performance in which I invited audience members attempt to take it off. Based on the film, That Obscure Object of Desire, by Luis Bunuel, the chastity belt was both attractive and repellent and took on the roles of both the virgin and the whore. In a performance, I invited members of the audience to attempt to take of the garment.
Questioning the role of so-called “attitude” tshirts and clothing, I created several pairs of shorts based on popular “butt print” cheerleading garments. For several years, I had noticed the ubiquitous “butt print” short and even owned several pairs myself. The shorts, often stating positive or purportedly empowering things were popular among cheerleaders and on college campuses. I was struck by the fact that the shorts were aiding in self-objectification and were purposefully calling attention to the female wearer’s body. The slogans I created mocked the sexualized slogans on the shorts. I wore the shorts throughout the city of Providence and to the mall creating a public performance.
This exploration uses the body, as site for art, an activator, and as an object. Through performances, installations, and performance objects—the props, costumes, and sculpture objects I have created that are used in the performance—overlapping icons of female sexuality creates a new space of uncertainty and interest.
Through performance I explore the extremes feminine iconography by appropriating and subverting stereotypes. I have been investigating the conflation of “hotness” or pornified female sexuality and empowerment. I have been tracing the rise in, what Ariel Levy has deemed, “Raunch Culture,” back to the initially subversive and radical actions of the Riot Grrrl movement. My work comments on the commercialization of “girlie” and the iconography used to sell “hotness.”
I created an electronic chastity belt that emits a non-lethal shock to those who touch it. It was worn in a performance in which I invited audience members attempt to take it off. Based on the film, That Obscure Object of Desire, by Luis Bunuel, the chastity belt was both attractive and repellent and took on the roles of both the virgin and the whore. In a performance, I invited members of the audience to attempt to take of the garment.
Questioning the role of so-called “attitude” tshirts and clothing, I created several pairs of shorts based on popular “butt print” cheerleading garments. For several years, I had noticed the ubiquitous “butt print” short and even owned several pairs myself. The shorts, often stating positive or purportedly empowering things were popular among cheerleaders and on college campuses. I was struck by the fact that the shorts were aiding in self-objectification and were purposefully calling attention to the female wearer’s body. The slogans I created mocked the sexualized slogans on the shorts. I wore the shorts throughout the city of Providence and to the mall creating a public performance.
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