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My work addresses experiences of heightened and primal emotion, from feverish passion to blind rage, in the form of traditional and installation-based paintings, drawings and prints, which are primarily autobiographical in nature.I am fascinated with the dualities and contradictions of human nature and examine the mind/body dichotomy through the juxtaposition of personal as public, horror as comedy, the imaginary as corporeal.Representing a deviation from the symbolic order, the concept of hybrid-beings was perceived as something marginal from society and as such managed to enter the mainstream consciousness as fascinating/disturbing curios. Moreau (1896), in which a mistrust of difference is embedded in the portrayal of cross species hybridity as inherently monstrous.This is reflected within popular literature of the time including Mary Shelley’s Frankenstein (1818) and H. Contemporary Western culture has perpetuated this dualist sense of intrigue and repulsion towards interspecial hybridity via its manifestation within medical science and its generic construct within Horror/ Science Fiction Films.In this way, my work serves to combat the stigma of women as complacent, desired object through the symbology of large or predatory animals.This rejects the association between woman with small, passive animals, particularly those that can be domesticated or tamed, such as cats and rabbits.
Furthermore, my use of animal imagery functions to subvert traditionally ‘feminine animals’ that denote women as “inferior beings” within social hierarchy.
The notion of the human/animal hybrid or “parahuman” has been investigated throughout history, in art and mythology, as a means of understanding human experience and the world at large.
This tradition dates back to Upper Paleolithic cave paintings that served as an insight into the human desire to be at one with nature.
Within Western Art, the female form has undergone a tradition of objectification, particularly within the generic constructs of the nude.
These portraits served to place the female body as a symbol of passive beauty, positioned for the pleasure and consumption of the viewer.As biological technologies enable the physical development of hybrid organisms via stem cell research, popular culture continues to explore the parahuman as an embodiment of fear in films such as The Fly (1986) and The Wolfman (2010).