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Behind Closed Doors Series

In this new series of wall plaques, titled "Behind Closed Doors," the artist reimagines original images from a book titled In Praise of the Backside. The book's collection features women from behind, most often captured by men, often untitled and anonymous. In the artist's reinterpretation of these images, women transcend their status as objects of lines and shadows, becoming subjects imbued with emotion, thought, and a place of belonging.

Sculptural Jar Series

Porcelain Plates Collection

Her poetic porcelain plates examine and reimagine the history of art in a way that values ​​women not only in body, but in wholeness, power, and love. Focusing on the narrative qualities of art-making, she weaves stories into the clay that are both personal and universal.

In light of her

The three series that make up her thesis show all center around the woman as an art historical trope who becomes a contemporary archetype of tenderness and tenacity with her own narrative. The tradition of the woman as muse or object is questioned and turned upside down as she gives her women the position of subject, i.e., the position of power. The jars, which uphold pairs of women, are the ultimate overturn of male dominance as she removes and replaces all male characters from famous artworks with women. The couples care for one another and are so consumed in their connection that the viewer is ignored. They do not exist for the viewer’s fantasy because their desires are already fulfilled. Through these three bodies of work, she creates archival objects which combine to build a narrative of women’s power, based on the Love Ethic, as discussed by bell hooks in her book, All About Love. Furthermore, notions of power are investigated in tandem with Mary Follett’s writings on power, which delineate Western conception as power-over, and the feminist ideal as power-with.

Unsung Muses Series

Unsung Muses is a group of large-scale vessels, wall pieces, and small sculptures which comprised a solo exhibition at the University of Georgia's School of Art in October 2015. The works were accompanied by an excerpt from an Adrienne Rich poem titled "Transcendental Etude." The excerpt reads:

"But in fact we were always like this, rootless, dismembered: knowing it makes the difference. Birth stripped our birthright from us, tore us from a woman, from women, from ourselves so early on and the whole chorus throbbing at our ears like midges, told us nothing, nothing of origins, nothing we needed to know, nothing that could re-member us."