Hand embroidery, felt, poetry. 2020. 15'“ x  21.5”

Hand embroidery, felt, poetry. 2020. 23” x  32”

Hand embroidery, felt, poetry. 2021. 15” x  23.5”.

Hand embroidery, felt, poetry. 2022. 20.5” X  30.5”.

Hand embroidery, felt, poetry. 2023

Hand embroidery, felt, poetry. 2023. 20.75” x 14.5”.

Hand embroidery, felt, poetry. 2023. 17.5” x 12”.

Hand embroidery, felt, poetry. 2020. 17.5” x 19.5”

Divided into three acts, this work constructs and then deconstructs the impacts of male privilege and assault on the female body. “Act One” discusses how something as violating as touching a woman’s body without her permission is seen to be normal and accepting as touching an inanimate object. “Act two” explores the physiological impact and emotional weight of the silence that is carried by survivors of sexual abuse. And in “Act Three” there is emancipation in the space where the veil of secrecy is lifted and survivors can speak freely and safely.

Job’s Daughters is an organization that recruits young girls to participate in religious rituals and community service. The International Order of the Freemasons is a parent organization of Job’s Daughters. When I was around 14 years old I was inducted into this secret society under the conditions that I was somehow related to a Freemason and that under no condition would I share the rituals we would perform. We were required to wear white robes to display our purity and also to wrap our bodies with a rope that outlined our breasts and reproductive organs. Years later, looking back at the time I spent in this environment and seeing the practice of performing rituals every week, the book we followed, and the history of the Freemasons, I wanted to display how strange and haunting this cult was for me and is still today.

This video is a compilation of original and found footage demonstrating how the original films that have influenced our perceptions of women remain relevant today. In 1973, Laura Mulvey published the essay "Visual Pleasure and Narrative Cinema," discussing the concept of the male gaze in films, such as those created by Hitchcock, where the spectator is placed in a masculine subject position, with the woman on screen as the object of desire. This video visually connects these older films with the ongoing spectacle of the objectification of women's bodies in today's society.

****TRIGGER WARNING**** This video may trigger memories of assault or abuse. 

So Splash On In is my response to a law in North Carolina that states that “no” does not always mean “no” when it comes to sexual consent. As a victim/survivor of sexual abuse and assault with North Carolina as a second home, this law struck me as horrific and appalling. In this video, I visually express my feelings about how I see the stories of assault victims getting washed away, both literally by the judicial system and metaphorically on the beaches of North Carolina. The audio is unsettling because this law is unsettling, and I wanted to create an example that audibly expresses an event that happens every 98 seconds in America, according to RAINN. The final clip of the video is a jarring transition to an ironic ad to visit North Carolina.

In this video, I offer a response to how society imposes stereotypes on femmes of all ages using language. By portraying a negative viewpoint, I aim to emphasize the harmful effects of these preconceived notions on the perception of femme individuals.

With this piece, I challenge the societal norms that impose gender stereotypes on children by associating specific roles with toys and objects. In this performance video, I use destruction, violence, and anger, I express my opposition to these stereotypes. Using color, I aim to demonstrate how these toys and objects were designed thoughtfully to be assigned to one specific gender.