Infinite Shades of womanhood
My thesis exhibition, Infinite Shades of Woman hood is more than a collection of artwork – it is an invitation to think, to change, to take action. It is a testament to the enduring strength and resilience of the female spirit.
The Three Graces sculpture is a beautiful conclusion to my study and creative practice.
I created over 500 paper polyhedron shapes to make the skirt, each with approximately five magnets inside. After much research, I got the magnet down to 1/32 thinness with a 2-pound pull aspect ratio. There are about 3000 magnets, with 450 hand-sewn magnets on the cotton hoop skirt.
The skirt can never be the same as the configuration you see in this image. The polyhedrons are tested this way and that until they connect, working over and over to get the internal magnets to connect. The sound is thrilling. With a click, they snap together, and the skirt begins to emerge. The magnetic connection represents invisible forces that unify the polyhedrons, or they don’t connect with a polarized repulsion.
The metaphor of the magnet—the connection between the polyhedrons and the infrastructure represents the supportive networks and community as we bond together. They imply balance and harmony. Magnetizing the whole stands for resilience, strength, and collective determination. Yet, made from paper, it symbolizes both stability and fragility, as well as strength and vulnerability.
The three graces can be interpreted in various ways. For example, they can represent the past, present, and future. In Greek mythology, the Three Graces were goddesses associated with charm, beauty, and grace. But overall, the sculpture is a celebration.
The Three Graces, 2024, Monoprint Paper Magnetized Polyhedrons, Cotton Hoop Skirt with Magnets, with Bamboo Reed Skinned with Monoprint Tissue Paper, 7 feet x 3 feet 2024
Portraits of Paradox Series
This series of portraits explores the paradoxes inherent in the societal expectations and individual realties, capturing the complexity of women’s lives. Each artwork challenges a different conventional norm or stereotype, inviting viewers to confront the dichotomies that shape women’s roles and aspirations.
I displayed two different versions of the same carved wood blocks, embossed and colorful collages to show conceptual depth in the use of multiple versions, but also to show variation in how the story can be told and interpreted.
Monthly, Embossed Print on BFK, 10” x 8”, 2024
Vunerability, Embossed Print on BFK, 10” x 8” , 2024
Warrior, Embossed Print on BFK, 10” x 8”, 2024
Required for Womanhood? Embossed Print on BFK 10” x 8” , 2024
Measured, Embossed Print on BFK, 10” x 8” , 2024
The Giver, Embossed Print on BFK, 10” x 8”, 2024
Attractive?, Embossed Print on BFK, 10” x 8”, 2024
Reflection, Embossed Print on BFK, 10” x 8”, 2024
Play, Embossed Print on BFK, 10” x 8” , 2024
Ambition, Embossed Print on BFK, 10” x 8” , 2024
Reproductive Justice
Parts of My Body Are Government-Owned a paper sculpture is a representation of the intersection between feminine identity, bodily autonomy, and political discourse. Crafted from monoprint paper in shades of pink with contrasting patterns, the sculpture’s surface represents the domestic symbolism of quilting.
This artwork is my tribute to the resilience and determination of women to assert agency over their own bodies and lives in the face of societal and political challenges in the United States.
Parts of my Body Are Government-Owned, Monoprint Paper Sculpture, 4 feet x 9 inches x 5 inches, 2023
SHOW ARTIST STATEMENT
Infinite Shades of Womanhood is a journey into the intricacies of feminine identity. I invite viewers to explore the complex intersections of femininity, society, and self through different mediums, techniques, and themes.
Central to the exhibition is exploring symbolism, metaphor, and visual storytelling as tools for conveying messages and eliciting responses. Each artwork represents shared experiences and the collective consciousness of women and their allies, empowering them to challenge societal norms through bold strokes of creativity and insight.
At the heart of the exhibition stands The Three Graces, a monumental paper sculpture representative of feminine strength, unity, and resilience. As the polyhedra cascade down and fall from the voluminous skirt hem, they symbolize the interconnections of life’s experiences and the connections made and lost.
In Parts of My Body Are Government Owned, the intersection of feminine identity, bodily autonomy, and political discourse takes center stage. This sculpture serves as a poignant reminder of the ongoing struggle for reproductive rights and autonomy in the face of legislative control. The artwork is my tribute to women's determination to assert agency over their own bodies and lives in the face of political challenges in the United States.
Infinite Shades of Womanhood is more than a collection of artworks—it is an invitation to action and a testament to the enduring strength and resilience of the female spirit.