Torrington CT
February 28 - April 12, 2025
Thanks to the amazing Kurt Steger for his collaboration and crafting of the armature for this work. Thank you to Nick Sadnytzky for his translation of my drawings into 3D renderings, nad Peter Brown for his luminous photos. It takes a village to make these projects happen. I am enormously grateful for the generosity of my artist community.
Some thoughts on this work:
I think about how an object could embody an act of resistance, in a way that does not require it to be simply an antagonism. can I use characteristics I deem fundamental to my ethics- as a human, woman, artist, that don’t replicate the modes of repression that I am actually resisting.
So I began to create objects that are so insistently feminine, so visible, so monumental - their existence itself might be a resistance. textile- a haptic form that touches our bodies from birth to death - that records and holds histories in itself, that embodies notions of softness, resilience, flexibility, tenacity, endurance, warmth, femininity- characteristics feminized as a pejorative- becomes an expression of resistance— fragile and strong, resilient and flexible, tenacious and powerful and loving. it holds me to my ethics of generosity and reciprocity.
Voluminous skirts act as identity-forming architecture for a female body - reflecting attitudes towards women — they change the shape of the body in repressive and also liberatory ways. They are erotic metaphors of women’s private lives, they shelter and nurture, conceal and reveal, care and love, resist and liberate.
The female body (with expansiveness) is a center of creation that also is continually a space of occupation. Occupation is complicated. People are still are fully human- with rich liberated lives inside spaces of oppression. The scale and softness becomes undeniable-a beautiful almost monstrous femininity. A body that refuses to comply.