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Don't Worry, House, I, Too, Am Screaming

2019

Model : Abby Quant

Memories of my childhood exude notes of fresh 2 by 4 construction smell, as I spent much of it wandering through staged model homes of new communities popping up everywhere in my suburban Atlanta town. Giggling at the plate of plastic cheese and grapes sitting on a table in a seating area no one would ever want to sit in, I became familiar with the ways the function of a home is replaced with uncanny representations of existence. These representations of living in McMansions and the new housing developments of my suburban Atlanta community are built by layering the transparencies of bare bones structures, patching, and painting to become disconnected from the humans who are meant to inhabit them. Home staging techniques informed the ways in which my parents modeled our own home, omitting anything that was deemed undesirable to possible home buyers. In the exploration of the constructing and layering of transparencies with unfamiliarity as the final result, I reflect on how the built world, specifically housing communities, shapes the way we perceive and operate our bodies in relation to each other and this construction. My garments are built from their base layer of mesh, fit closely to the body, layered with paint strokes and patching. This base layer acts as both the representation of the bare structure and as the beginning of the patching and layering, a process we are constantly performing both physically and psychologically. From this base layer, the body becomes distorted under layers of overwhelming forms, as the garments also begin to perform in their own ways and force the body into unnatural ways of getting dressed and moving. My material choices of mesh, suiting, and upholstery tell the story of one’s performances amongst the built world. 

textiles

featured in CRUX Magazine

Fall 2019

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