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I am interested in telling stories about how products are created, and the social impact of their production, advertisement, sale, and consumption. I reveal these narratives through sculpture, textile design, painting, sound, and other media, by styling re-interpreted products and processes. I enjoy capturing an impression of an aesthetic or product, celebrating and preserving its memory and meaning, while also re-presenting it. I am particularly interested in mass-produced fashion, beauty, and food and sport brands. I believe that each object unites many people, willingly and unwillingly: consumers and users, retailers, distributors, manufacturers, factory workers, advertisers, celebrity promoters and licensors, and iconic influencers, in addition, of course, to those distant and aspirational observers who witness the use of material goods. Because of their short life spans as products, foods and beauty styles, are particularly interesting because they require more frequent interaction among these parties as services are rendered. I am fascinated with these relationships and patterns, and how many different experiences there are of a single item. Within my work, I engage viewers in a dialogue about these relationships and the objects in which they are embedded, with a conscious eye toward class, race, gender, and the impacts of conspicuous consumption.
My current project, BLAXIDERMY Beauty Supply, explores the Black body as a site of commerce. The word "Blaxidermy" is a combination of blaxploitation and taxidermy. I am looking at the beauty business and using beauty products as media. With black women spending 80% more than the rest of the population on beauty products, it was no wonder why my friends and I were going broke trying to maintain our ever-changing looks, despite the myriad of challenges. I chose "taxidermy" as a reference for this visual style because I feel it reflects the artificial, amputated nature of adornment within some Black aesthetics. Here, I am exploring the processes that we use to signify our identities by seeking out the origins and impacts of beauty standards and trends, and then re-creating and preserving replicas of them. A style itself becomes the signifier of a target. In investigating stereotypes and style choices, I consider the shape-shifting of black beauty and the exploitative nature of the business of black beauty products.
I currently live and work in Rhode Island. My interest in consumption and material goods has lead me to learn the systems of licensing, merchandising, and product development for brands such as Target, Timberland, Apple, and Reebok.
I am interested in telling stories about how products are created, and the social impact of their production, advertisement, sale, and consumption. I reveal these narratives through sculpture, textile design, painting, sound, and other media, by styling re-interpreted products and processes. I enjoy capturing an impression of an aesthetic or product, celebrating and preserving its memory and meaning, while also re-presenting it. I am particularly interested in mass-produced fashion, beauty, and food and sport brands. I believe that each object unites many people, willingly and unwillingly: consumers and users, retailers, distributors, manufacturers, factory workers, advertisers, celebrity promoters and licensors, and iconic influencers, in addition, of course, to those distant and aspirational observers who witness the use of material goods. Because of their short life spans as products, foods and beauty styles, are particularly interesting because they require more frequent interaction among these parties as services are rendered. I am fascinated with these relationships and patterns, and how many different experiences there are of a single item. Within my work, I engage viewers in a dialogue about these relationships and the objects in which they are embedded, with a conscious eye toward class, race, gender, and the impacts of conspicuous consumption.
My current project, BLAXIDERMY Beauty Supply, explores the Black body as a site of commerce. The word "Blaxidermy" is a combination of blaxploitation and taxidermy. I am looking at the beauty business and using beauty products as media. With black women spending 80% more than the rest of the population on beauty products, it was no wonder why my friends and I were going broke trying to maintain our ever-changing looks, despite the myriad of challenges. I chose "taxidermy" as a reference for this visual style because I feel it reflects the artificial, amputated nature of adornment within some Black aesthetics. Here, I am exploring the processes that we use to signify our identities by seeking out the origins and impacts of beauty standards and trends, and then re-creating and preserving replicas of them. A style itself becomes the signifier of a target. In investigating stereotypes and style choices, I consider the shape-shifting of black beauty and the exploitative nature of the business of black beauty products.
I currently live and work in Rhode Island. My interest in consumption and material goods has lead me to learn the systems of licensing, merchandising, and product development for brands such as Target, Timberland, Apple, and Reebok.
