Divine Dissidence Artist Statement
How can taboo be broken by defining and redefining the narrative of feminine subjugation? My body of work, Divine Dissidence, explores areas of stigma and inequity that women face and the enduring commitment many have shown to promote affirmative change. This subject has been studied and documented in many forms throughout history. Yet, women continue to be assailed by intrinsic constraints and exploitation, as seen in unfair wage gaps by employers, the beauty and health industry’s nearly unattainable standards, political impotence, and gendered social obligation. My work examines the relationality of historical and contemporary feminist trends combined with empirical research, to gain the knowledge to assist in revising and dissolving the syntax of taboos. For me, Divine Dissidence represents a traversal space allowing praxis to become tangible.
My academic scope of analysis looks at feminist innovation in the arts, collective discourse within mass media, and the relationship between divinity and the female form as an intricate dialectic tool. The use of creative expression has led to social movements in the form of fine art, performance art, and spoken and written word. My body of work in the exhibit carries a language unspoken and supports translation without syllables with concepts that transcend traditional canons. Art embodies a complex language translatable worldwide, and it keeps alive the stories that have crumbled under the weight of antiquated intergenerational knowledge. I postulate a change in social order and a reconstructed ideology can be achieved through the power of the arts and collaborative discourse.
My artistic intent uses a social context to become dialectical, creating an experiential lesson questioning the system that supports the eradication of feminine uniqueness for the benefit of masculine comfort. For the body to become transcendent we must intentionally disregard limitations and beliefs that women’s bodies are objects (Young, 1980)[1]. We are bombarded by tyrants harnessing the full might of masculine energy through control, defamation, abuse, and oppressing others. The antiquated belief systems of prior generations teach us to see and feel the way those before them did, they hate the way their parents hated, and they abuse the way their parents abused. These subjugated principles are slowly being realized, with more people querying the mistreatment and constriction of women and oppressed people.
My designs interweave concepts and art for a multilayered experience using imagery, symbolism, and metaphors, meant to link feminine power and energy to the body for the purpose of removing harmful stigmas and taboos. The triptych series, Colonized Feast, is a visual tale revealing the consumption of Divine Feminine. This representational journey exposes the imbalance of masculine and feminine energy through the male parasitic eating of the flourishing tree. The spirit of imbalance is further expressed in, Pound of Flesh, where women’s objectification is measured against patriarchal accomplishments. I use ironic symbolism and marketing catchphrases to embrace diversity and inclusion with nylon pantyhose in, Everyday Shade. At the center of, Sheer Brilliance Terrestrial Garden, harsh beauty standards are challenged with the combination of manmade products and toxins to maintain a youthful appearance for the social gaze. Women’s bodies are uniquely miraculous, and yet bodily autonomy and generational grooming enforce the standard that women’s sole purpose is to breed and continue the race, To Nest or Not to Nest, is a woven tribute to womb sovereignty. The lack of freedom of our bodies reminds us of the horrible event on, June 24th, 2022, when many state governments passed legislation outlawing abortions, this legislative pursuit of women’s reproductive rights became the focus of my series, Federal Game Wall, the imagery implies the hunt and seizing of women’s uteruses by governmental powers in their big game abortion expedition.
I aim for the viewers/visitors to be drawn into a dialogue with the work. These pieces will serve as conversation starters, taboo challengers, and an interactive community of support. My richly creative ideas are tangible and primally impactful in transformative healing for All people. I hope to motivate you as a viewer to see my work as a continuing dialogue with the conceptual feminist ideology that inspires one to dive deeper into the work, question presumptions, and fuel a, Divine Dissidence, to something more.
[1] Young, I. M. (1980). Throwing like a girl: A phenomenology of feminine body comportment motility and spatiality. Human Studies, 3(1), 137–156. https://doi.org/10.1007/bf02331805
Divine Dissidence Gallery Talk
November 17th 2022
