The cultural history of female exposé, presentation, and excessive notions of beauty drives my work. As an artist, I find the idea of what popular culture defines as feminine beauty to be skewed and distorted. My practice is an ongoing investigation of experience, memory, abstraction, present and future histories.
The work speaks to my internal complex persona and individually as a Caribbean-American. The awkwardness of growing-up in a society obsessed with attaining beauty is expressed in malformed images and decapitated bodies. These figures with multiple body parts connected to desire create confusion, humor and tension. Some of my muses wear the hairstyles from my youth and dressed in props associated with femininity such as jewelry, make-up and high-heels. The figures have a sex appeal but decidedly are mutations.
The grid made specifically for Abandoned Margins repeats one of my muses “Dirty Bottom Pin-Up” who has scrawled with text and language found defiling public spaces in high schools, playgrounds, bars and bathroom stalls. This “Lost Love, Love Found” graffiti signifies declared love, sexual lust, loss and anger. Declarations that allude to mating and in this grid of six pin-ups phrases of the submissive “girl” that become scars or hieroglyphs that cover malformed bodies. This graffiti underscores the desire for beauty both personal and public.
Drawings refer to contemporary, mythological and historical stereotypes. These figures have been subjugated into modern-day Hottentots. The work alludes to the psychological trappings of beauty found in prepubescent pageant toddlers, strip club dancers, Hollywood-icons, centerfolds, extreme plastic surgery, the everyday woman and even myself. The drawings examine the concept of a hybrid, coexisting in human and animal form, of one both grotesque and sexualized.