Collage and sculpture are the vehicles through which I steer societal beauty norms, body image/the ideal, and emulation/worship. Scraps of magazine pages with bits of ribbons and trim, 3-D diamond stickers, and pearls act as their “accessories to the outfit” or “final touches”. The use of mother goddess and fashion model imagery are a mashing of the modern and antiquity. They are contrasting physical aspects of feminine beauty and what it was and is to be “woman”.
Some of these collages are then adhered to mirrors. These substrates or bases of the collages that allows the viewer to enter the piece through physical reflection and thus self-reflection. They are meant to invoke thoughts of the societal role we each take part in constructing: the cultural forces that perpetuate and thus can destroy the female sense of self-worth.
Other pieces are even more layered and complex visually. Combinations of archeological artifacts, such as the mother goddess or Roman sculpture, and womanly aspects of dismembered legs and full lips become remnants floating in a field/dig site. They are the cultural remains if the beauty norms are not deconstructed and dissolved.
The sculptures are reminiscent of soft sculpture and multiples. Each work depicts a female body part/parts such as the lips, breasts, legs, hair, and hands and are sewn into organic forms. The pieces are dissected in way to reference the derogatory “compliments” of those womanly forms. It reflects how woman is not represented or perceived as a whole.
Thus, these works, in particular, become constructed identities through which I try to navigate and understand aspects of “womanhood”.