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Projected Definitions

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“My work utilizes the iconography of women and animals to discuss commodity culture, feminism, and the power and ownership. Self-worth is often dictated by the items we own and the trophies of our existence. Due to my own personal experiences in a capitalist society I view consumer culture as gender-biased, framing the woman as the predominant consumer. The idea of consumer as trophy collector, commodities as trophies, woman as trophy, and animal as trophy is the germination of my work. The use of animals, the subject of mans domination, and the female, are portrayed as the trophies that are coveted for prestige and self-satisfaction.

Much of my work juxtaposes human and animal/taxidermy forms in an effort to understand the American landscape of consumerism and its desire for acquisition of the commodity. In my sculptural works, I depict animals absorbed and regurgitated by the consumer and dot.com culture. Draped in lush fabrics and decorative materials the taxidermy forms speak to represent the nature of supposed high-class consumerism, our want of acquiring the best, most beautiful products that will showcase our worth. The taxidermic forms are layered in feminine, decorative accents that reference adornment for the sake of display.

My print work portrays the animal form in taxidermic representation, juxtaposed against the fetishized nude female form. These forms undermine the contradictions and boundaries between person and thing, animal and object, humanity and nature. All are viewed as potential possessions in a consumer-based culture. The imagery references an idealized view of the woman matriarch, within the historical landscape of the American ideal, who has the responsibility for the purchasing, furnishing and decorating of the communal living spaces in the home. The collection of trophies per se, is subjugated by her own trophy quotient. In this role she is both hunter and hunted, trophy collector and potential trophy. Outside of the museum, taxidermy becomes a symbol of domination, and ownership, the outward demonstration of the wealth, worldliness and masculine prowess of its owner. By embracing the aesthetics of consumerism my work attempts to take representations of personal worth, such as taxidermy beyond the discussion of life and death and into the realm of collective, cultural indoctrination.”

 


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