Through provocative sculptural work along with performative means of transcending the sense of purpose that these components may first have, I aim to confuse notions of appeal with revolt, pleasure with disgust. I aim to magnify the psychological charge that exists when we are in a moment of suspended awareness about what is decidedly beautiful or grotesque.
The sculptural works are comprised of women’s nylons, thread, cotton batting, wire, and wood. Most of the sculptures are life-size and compare to the human presence. The sculptures are simultaneously attractive and repulsive; they have a degree of abstraction yet possess a life-like quality, which in turn renders them uncannily familiar. I hope this combination invites the audience to be forced to make their own connotations from what I feel are like physical poems. The sculptures are wild and provocative, much like the very process of making these works. The fleshy elements are bound by twine and at times the wood punctures recesses into its surface. The pressure and tension that is created by the tight binding and pinching of the nylon creates a sort of synesthesia; and from that there is an empathy that I hope to generate in the audience. I want a psychological charge to exist between what is physically happening on the surface of the sculpture and perhaps what is occurring at the innermost levels of the work.
The materials that I work with are very important to the concept of the work. Through sculptural and performative arrangements, I use women’s nylons because they are almost universally used to attract the gaze and maximize allure, while they can also be put into a position of being very paradoxically fleshy and contorted. Nylons are physically meant to mimic our skin but they are constrictive, leaving imprints on our bodies long after we have taken them off. The fleshy sculptural arrangements manipulate the emblematic nature of our skin, so they are caused to poetically deem their own connotations and personal feelings of attraction and repulsion.
Touch is a very important aspect of the work, those who are tempted by the sculptures soft crevices, often become self-conscious and pull away. Touch is an attractive and inviting aspect of the work, yet it is a loaded attraction, one that I believe compares to the way I feel as a woman being leered at or otherwise objectified. If one person is disgusted and another compelled to enjoy my work, then I will have achieved an aspect of delivering something of what I feel is a part of my everyday life.