Work samples
About Caitlin
Caitlin Gill is a mixed media artist living in Baltimore, Maryland. She has a B. A in Drawing and Painting from Towson University and an MFA in Curatorial Practice and Art Criticism from the Ontario College of Art and Design. She currently works as the Exhibition Director and Arts Directory Coordinator for Maryland Art Place (MAP) and the Maryland State Arts Council.
In exploring the divergence between craft and fine art and the implicit misogyny within the distinction between the… more
Traumatized Series
In this series, Gill’s work examines the patriarchy, the male gaze and gender through hybrid human/animal portraits. This body of work aims to untangle the hypocrisy of the boy’s will be boy’s mentality where men’s poor behavior is justified by their inability to control themselves due to arousal from the female nude or sexualization of the female body. By combining portraits of sex workers and birds, Gill comments on the commodification and consumption of the female body and its direct correlation to the meat industry as a commodified cultural entity. Using traditional craft materials and skills such as sewing, felting, crocheting, ceramics, scrapbook paper, doilies, stencils, and stamps, Gill also explores the divergence between craft and fine art and the implicit misogyny within the distinction between the two. By Evoking ideas of discomfort and repulsion, she encourages viewers to engage in the inherent violence exercised in the construct of the feminine.
Runneth Over
This series of artwork explores empathy and how the artist feels kindness and people pleasing can lead to neglecting one's own needs as a result. The title is derivative of the saying "my cup runneth over" - but is explored through road kill.
Other Artwork Samples
Gill’s work examines the patriarchy, the male gaze and gender through animal and insect portraits. The juxtaposition between lace, pressed flowers, and other materials with the foreground imagery of birds and bugs acts as a dialogue surrounding how the female identifying artist feels she must be perceived by society versus her experience performing gender. Using traditional craft materials and skills such as sewing, felting, crocheting, ceramics, scrapbook paper, doilies, stencils, and stamps, Gill also explores the divergence between craft and fine art and the implicit misogyny within the distinction between the two. Her work is labor intensive and acknowledges the invisibility of female labor in the home and in marriage and the lack of value inferred in “women’s work.” By Evoking ideas of discomfort and repulsion, she encourages viewers to engage in the inherent violence exercised in the construct of the feminine.