In the 19th century, porcelain dolls represented the perfect lady and wore the latest trends in fashion. They were given to little girls as role models, teaching them to be delicate due to the dolls fragility. In the current day and age, dolls are hardier and more approachable. Some dolls follow the aesthetic of traditional dolls, embracing prudence and innocence. Others have adapted to a more contemporary style which is unfortunately paired with gaudy aesthetic and overt sexualization of the female form. In this epoch, we tend to either hold on too tightly to traditions, or throw them away completely.
The purpose of my dolls is to reference tradition while embracing creativity and individuality. To accomplish this, I used molds from 19th century dolls to create the porcelain body parts. In addition, I based the body on a pattern that was drawn in the 1940’s. I manipulated this pattern in order to make the doll softer and easier to interact with. To make each doll personal, I let imperfections from the porcelain casting process dictate features such as line work. The fine upholstery fabric used for the body references the elegance of the past, while the decadent use of trims fulfills the contemporary desire for gaudy excess.
Sawtooth Mountain Range from Capstone
Lunch With an Old Friend
(video paired with installation)
The Butterfly Project
The Butterfly Project
The Butterfly Project was a large-scale art installation created for the Bullock Texas State History Museum's exhibit, State of Deception : The Power of Nazi Propaganda. The piece was developed by a team of students from St. Edward's University with help from the community. The panels contain over 5,000 butterflies which were created by families and children across the state. The Bullock Museum was awarded top honors by the American Association for State and Local History for the installation.
"The purpose of this collaborative project is to showcase children’s artwork focusing on the Holocaust. This exhibition draws upon the poem “The Butterfly” written by Pavel Friedmann, a child at the Terezin Concentration Camp during the Holocaust...."
The last, the very, last, So richly, brightly, dazzlingly yellow. Perhaps if the sun's tears would sing against a white stone....
Such, such a yellow Is carried lightly 'way up high. It went away I'm sure because it wished to kiss the world good-bye.
For seven weeks I've lived in here, Penned up inside this ghetto. But I have found what I love here. The dandelions call to me And the white chestnut branches in the court. Only I never saw another butterfly.
That butterfly was the last one. Butterflies don't live in here, in the ghetto.