I am stuck between feminism and femininity. My art practice examines this purgatorial state, and visually poses questions about what it means to become a woman. My work is a coming of age narrative, almost diaristic, and yet uses imagery or text that is universal in an uncanny way.
Your work often evokes overwhelming emotions of loss, longing, unrequited love and the construction of female identity. Although your practice is not driven by food, representations of food products appear in several bodies of your work. How do you see these pieces functioning within your larger project?
Food is deeply connected to the construction of gender. (In a sarcastic tone) Women are supposed to be where? Yes, the kitchen… making pie. We are taught to connect to men of our desires through their stomachs.
Your work reveals a hyperawareness of text. Can you discuss your use of text?
For instance, if we look at the pieces “Dove Me in the Morning” and “Dove Me All Over,” we will at first realize that dove is replacing love within the expressions. However, dove can be a bird, a chocolate company or even a soap brand. The word is fertile. These pieces are connected though the director Hitchcock, also a fan of double entendre. The blood in his film “Psycho,” represented in my work “Dove Me All Over” by Janet Leigh in the famous shower scene, was made of chocolate syrup. The vortex of melted chocolate takes on the appearance of a drain, much like the actual scene in the Hitchcock film.
Your last name happens to reference both a phallus and a culinary delight beloved by many. How has this name suited you through life?
What is the most visually inspiring ingredient in your kitchen?