Caroline Gorman

What it looks like is what it doesn’t know it wants the most:

My work explores failed female participation in heteronormative American societies. For example, in Tiqunn Essay Raw Materials for a Theory of the Young Girl encapsulates the 21st century capitalist transformation of previously "useless" prepubescent young girl (not fit for physical labor, nor reproduction) as use for raw material for profit. The Young Girl is an ever consuming, sexualized wheel in which body-morphing commodities, in the realm of the adornment and self-expression are circuit fed. The Young Girl does not apply merely to “young girls”, but is applied as an ideology in which the socialized figure adheres to the values of consumption as a venue for social capital and individual expression, one that plays on base desires and crystallizes one into an preteen emotional buyer.

He Loves Me

He Loves Me

He Loves:

(BUY BYE BYE)

(    ) explore gendered materials in relation to female labor, female domesticity, female rebellion, and female masochism through the expression of commodity items and exhibitionist spectacles. Using painting, fabric patterns, and found objects, referencing art historical institutional sexism, and failed social revolutions in relation of the manipulation of the body, I explore themes of the infantile, the obsessed, the desperate, degraded, and the ready-for-more.  By contrasting loaded cultural icons as symbols for rebellion and submission , new assosciations  are made. By pitting domestic materials against BDSM culture, for example, structures of power and performance, labor and pleasure, the desired and the perverse are put into question.

Mine,

A

    Bit

Of

     Yours?