For those who haven’t seen this piece named “Women’s Troubles” in its entirety on Facebook, Instagram etc., here it is completed. As I may have mentioned before, this piece explores the problems that women face in the workplace and at home. At work, women face issues such as being overlooked for promotions, unequal pay and sexual harassment, while at home they are to assumed to take on all of the domestic duties. Our roles have changed drastically but society still views us as being less than that of our male counterparts, making it very difficult for us to succeed in the workplace.
With this last piece that I’ve worked on for Innuendos, I found myself sculpting a couple of things for the first time. The most challenging out of them all were the eight arms hands down (no pun intended!), but the most unusual out of my first time items were the feet. I never bother too much with sculpting feet on my dolls because I am very anxious to get to all of the other mundane tasks of doll making such as sanding, picking out fabric, the dreadful sewing, hair gluing, etc. I usually just paint some simple shoes on like a ballerina slipper or a sock and get on with it. It came natural to me to create them, I just found it unnecessary to focus on them for my characters, just like ears. (There’s only one Melandolly that I’ve created with ears lol!). This time I felt the need to have actual feet. I wanted to have one foot bare with toes and everything and the other in a high heel. The bare foot is on the domestic housewife side of the piece while the heel is on the career woman half of it. I wanted to play up the “barefoot in the kitchen” phrase and also create the ideal vision of a business woman in heels.
Want to see more? Come see the finished piece at the Andrew Freedman Home at 1125 Grand Concourse, Bronx, NY 10452 from March 6th through April 1st!
The opening is this Friday from 5:30-9:30pm, hope to see you there!
I am very proud to be a part of this upcoming show with the Bronx Arts Factory. The show is curated by Yolanda and Yelaine Rodriguez and they wanted to choose 10 female artists to connect you to the female form and the struggles that women face. I am still working on my pieces but I wanted to share a few of my work in progress shots. The name of this piece is “Women’s Troubles”. I wanted to illustrate the changing roles of women and the problems that they face as they make an attempt to live up to society’s expectations of them along with trying to balance their work and home lives. The show will be at the Andrew Freedman Home at 1125 Grand Concourse, Bronx, New York 10452 from March 6th through April 1st
After about a year of planning, the Bronx Artist Documentary Project has finally made it’s debut at The Andrew Freedman Home this past Saturday September 13th. The project consisted of 30 photographers documenting 80 artists as they created artwork. I had the opportunity of being the only crossover artist to be on both sides of the lens. I was documented for a period of five sessions as I worked on various projects and I photographed three other artists while they worked in their studios. It was a great experience to meet other artists in the neighborhood and see how they began and ended their creative process. It was rather easy for me to document them, but I found it quite difficult for someone else to document me. I was very aware of the camera and tried to do everything in my power to make sure that my surroundings wouldn’t be as messy as they usually are. Overall, it was quite a bumpy ride but I think that we can all say that we’ve made a few new connections along the way 🙂
The Artist Chain Reaction competition was an event where two artists who never worked together before were paired up to create an installation over the course of 5 days. It took place at the lovely Andrew Freedman Home on the Grand Councorse in the Bronx during Armory Week.
I initially saw the open call for this competition about a few weeks beforehand and thought to myself that I would be in over my head if I participated in it. At the time I was working in small scale roughly under 18 inches, so I couldn’t even begin to imagine how my work would translate into anything larger. After reading the open call, I immediately closed the web page and looked for another call that I would be better suited for. A few days later a funny thing happened, I received the open call in my inbox from Jeanine Alferi. At this point I figured this was a sign that I should at least submit my work, so I grabbed the biggest piece that I had at the time, took some great shots of it and wished for the best. About a few days later I received an email from Jeanine notifying me that I was chosen to participate. I thought “Wow, how awesome is this, I’m so excited. … wait how the hell am I going to pull this off?”
I panicked but quickly began to strategize and it immediately came to me that I needed to use chicken wire and paper mache. I worked with chicken wire for a whole semester in college building project after project with it because of its strength and flexibility. The idea of using paper mache to bulk up the frame was great because it cuts down on the amount of clay that I’d have to use, making it a quicker drying, lightweight and cost efficient sculpture.
After I figured out how to handle creating the body I had to tackle the one thing that I have been avoiding all my life, the sewing machine. Anyone that knows me is well aware of my on going battle that I’ve had with using a sewing machine. I can’t thread them for my life, I usually get my mom to do it for me but she was in the far away land called Brooklyn. I’ve had a few lucky tries in the past where I’d get a few pieces done only to see it snag the material of another piece. This time I was determined and I knew that I didn’t have time to play around, I had to get this done. After taking a good look at the machine to figure out my plan of attack it began to dawn on me. I needed to run the thread through the tension discs in order for the stitch to be tight. This was something I knew but never seemed to master. I went on to YouTube to see exactly how the thread should be ran through it and vuala, that solved everything. I called my mom to tell her I did it all by myself this time :).
After getting the outfit sewn, everything else began to fall into place. I put the hair on which was a wig that I had laying around and I was able to make her stand by manipulating the chicken wire underneath her dress. I made her into a half tree half person. The story behind it came from a recent experience that my partner in the competition had went through. She was recently evicted from her home in the Bronx and she had to move to Brooklyn with her family. She said that every thing that she ever knew and was familiar to her was in the Bronx. So I decided to represent her by making a tree with the roots exposed to show how she was uprooted from her home and surroundings.
Overall it was a wonderful experience and it challenged me to take my work to another level. I just wish that I had more space at home to continue working in this size:)