About

I make work that focuses on the external (political) and internal (personal) drama of existing in a body- as a woman, as a queer person, as a body living under late capitalism and its incredible tendencies towards excess in both the material and digital realms, as a body that feels as though it cannot escape the male gaze’s patriarchally-approved pop culturally-indoctrinated principles of commodified femininitude.

I use what is at hand. These materials include: my body, clothing I have worn, clothing other people have worn, accessories, found textiles, iPhone photos/video, performance, and social media platforms like Instagram. 

Formally, my work often borrows from the language of Minimalism: stacks, repetition, seriality and sequencing, grids, balance/weight/strain. By using mundane and gendered materials to engage with this aesthetic of power (and its powerful claim to neutrality), I am seeking to disrupt hierarchical art historical traditions and create a feminist response to a largely revered and still largely unquestioned male-dominated formal language. I am so tired of impenetrable planes of steel, and corporate cubes asserting their “sovereign” cubeness. Pared-down perfection is far too easily co-opted by those in power. I want messy remnants, fatiguing spandex, rude neons gagging 50 office shirts, garish animal printed toddler bikinis vying with your grandma’s postage stamp quilt.  Historic Minimalism’s aim to construct an environment of imposing spatial awareness and therefore control over the body can be got at more directly, and troubled more politically: by making forms with the materials that impose control on the body every day; materials we don willingly, or begrudgingly, or out of necessity and lack of other options. I do not need the threat of a suspended ceiling with the potential to crush my spectating body to feel the crushing weight of existing in a spectating (spectacle-d) body. This physical drama is always close.