Through traditional oil painting and modern fiber pieces, this body of work is able to question the ideas and truths about sexual desire, sin, shame, and a sense of belonging through the eyes of the Roman Catholic church. By incorporating elements of Catholic iconography and modern day feminist ideas into the pieces it creates a devotional aspect, similar to an altar piece, which in return forces you to question whether this faith is helping or hurting. Much of the work is based on prominent women figures throughout the Bible such as Mary, Eve, and specifically Saint Melangell. These women simultaneously represent the highest form of feminist ideas as well as the exact opposite. Saint Melangell, specifically, is a virgin saint who abandoned her throne and soon-to-be husband to start her own congregation of only women, and is described to be a protector of nature and animals—most commonly rabbits. Due to this, animals and natural settings are often depicted in the work as sacred objects with various levels of meaning pertaining to old folklore, Catholic traditions, and modern symbolism.
By working primarily in painting and fiber the works are able to communicate the ideas of confusion within the Catholic church. Painting offers up a historical aspect to the work and speaks to the time when most paintings were completed by men, either for the church or depicting naked women. Through painting, these works are able to reclaim the historical “male gaze” as their own and rewrite the traditional narrative with a positive and empowering feminist view of the female body. Furthermore, working in fibers also brings an aspect of feminism and traditional women’s work which allows it to speak to the traditional roles of women in the church, and how that does not fit the modern-day mentality. By using fiber materials, the work can communicate a softness that women are expected to have in the church. However, the statements created through the sculptural fiber pieces overpower the apparent delicateness of the material. This allows the fibers work to be a play on the traditional view of women’s work as well as the conservative view of women in the church.
The works are inspired both by pieces that celebrate the Catholic faith, like in the Renaissance, and those that playfully engage with the idea of lust, as seen during the Rococo era. Furthermore, the style and ideas are heavily drawn from the almost sadistic nature of European folklore. Through working with these historical elements paired with the modern style of art, this body of work is able to utilize animals as symbols to relay contradicting messages of domesticity the church expects of women.
By working primarily in painting and fiber the works are able to communicate the ideas of confusion within the Catholic church. Painting offers up a historical aspect to the work and speaks to the time when most paintings were completed by men, either for the church or depicting naked women. Through painting, these works are able to reclaim the historical “male gaze” as their own and rewrite the traditional narrative with a positive and empowering feminist view of the female body. Furthermore, working in fibers also brings an aspect of feminism and traditional women’s work which allows it to speak to the traditional roles of women in the church, and how that does not fit the modern-day mentality. By using fiber materials, the work can communicate a softness that women are expected to have in the church. However, the statements created through the sculptural fiber pieces overpower the apparent delicateness of the material. This allows the fibers work to be a play on the traditional view of women’s work as well as the conservative view of women in the church.
The works are inspired both by pieces that celebrate the Catholic faith, like in the Renaissance, and those that playfully engage with the idea of lust, as seen during the Rococo era. Furthermore, the style and ideas are heavily drawn from the almost sadistic nature of European folklore. Through working with these historical elements paired with the modern style of art, this body of work is able to utilize animals as symbols to relay contradicting messages of domesticity the church expects of women.
"Going Down the Rabbit Hole" is currently on display at Merkai & Moon Gallery in Georgetown, KY through December 2020. Below are installation photos of the final exhibition.