My work explores the ways we construct systems of power and the ways individuals and institutions express those systems. More specifically, I am interested in representations of power through expressions of gender and symbols of wealth. Taking an interdisciplinary approach that includes painting, sculpture, and performance, my work invites viewers to consider and question the intersections of gender and power in contemporary culture.
In my painting and sculpture work, I explore constructed systems. Using disconsonant materials and textures such as melted fiber optics, beeswax, telephone wires, glitter, and construction aggregate, I aim to make visible the invisible systems of power and communication. In my series Fiber Optic Snake Oil (2016), I constructed oversized sculptural cotton swabs. Each swab is covered in fiber optic cables and beeswax, and I use binary code (the language computers use to communicate with each other) to embed messages relating to systems of power. My other bodies of work employ similar communication strategies. For example, my spray paint and glitter paintings in the series Eggplant, Eggplant, Money Sign (2018), along with the series Fool's Gold (2018), both contain the same hidden message.
I use performance as a vehicle for exploring the exchange of power between performer and audience. In my action The Female Gaze (2017), I invited male passersby to paint for me using their genitalia, enacting objectification of a gendered body using roles reversed from that which is stereotypical in our society. Additionally, I have incorporated pole dancing in my performances as a method for exploring the intersections of physical strength and gender.
Through varied mediums, my work examines the systems that define power in contemporary culture. Within this theme, I am most concerned with challenging narrow definitions of gender, and with uncovering hidden influence transferred through mediums of exchange like stimergy and money.