Concerned with the image of function as the armature for material exploration and installation, ideas consider the gendered experience in the everyday. They often offer material as content and hold an intimate relationship to the body.
Objects like vessels, lamps, tools, bikes, and furniture are realized from materials that leave evidence of the hand. This becomes an artifact of production; a record of time spent. The work is of time and labor, an investigation into the practices of gendered work.
As installation, the work is both physical and unreal, both bodily and cerebral—where the strange takes form at the intersection of familiarity and ambiguity. The installation elicits contradictions between these objects, where each relationship oscillates between receiving and rejecting, between acknowledging and denying, and between celebration and mourning.
The viewer becomes implicated through the objects in the room as the body is addressed in all stages of production. Through content, a chair may hold the body, while a vessel may be the body. Through process, capturing evidence of the body in material. Through installation, addressing a body as active experience.
The work is always in motion; individual objects are never expected to serve a singular purpose. They become much like the world that surrounds us: both anonymous and intensely personal.
— Brittany Mojo