My work is an interrogation of my own relationship to domesticity, femininity and fashion. In doing so, it seeks to unpack the gendered politics of ornamentation.
In my most recent body of work, softballs, evening gloves, mops, bathmats and voluptuous home furnishings congeal into sordid fleshy beings that manage to retain an almost Stepford impeccability in the process. Part furniture, part wardrobe, part bric-a-brac-porno, they are hyper femme dandies that push decorative tropes to a realm of hyperbolic queerness.
Their layered materiality extends to the etymological: each appendage is significant not only in its history, but also its linguistic origin and in its relationship to the kitschified image of feminine taste that lives in the Western collective consciousness. They epitomize the capacity for the feminine to be ferocious, for the soft to be strong and for domestic craft to have conceptual depth.