This project proposes an alternate pictorial history in which two objects of desire become one — the household convenience object and the emergent female form. The project looks back to the mid-20th century and identifies this era as a cornerstone in the construction of the modern woman, who, begins at this time to be idealized as sharing attributes with laboring-saving devices. These objects merge with the body, or vice-versa, from vacuum cleaners to coffee pots and telephones with extra-long cords. At their original scale, each portrait measures 109.25 inches tall, which is the exact height of Marcel Duchamp’s The Bride Stripped Bare By Her Bachelors, Even (The Large Glass).

Works also exist at medium-scales (59" x 42" and 35" x 27"), and miniature (12" x 9"). SEE NEXT GALLERIES

Medium-scale (59" x 42") and (35" x 27") versions from Hall of Portraits from The History of Machines.

At left: "Selections from The Hall of Portraits from The History of Machines", Virginia Museum of Fine Arts, Fellowship Exhibition Program (solo), Richmond, VA, August 14, 2020 - February 7, 2021

12" x 9" each. Image transfer and acrylic painting on paper. Variations are both on paper and on paper that is mounted on wood panel (2020).

Facsimile source prints for Hall of Portraits from The History of Machines document the found objects from which the female figures are created. Sources are from mid-20th century magazines that have been scanned at high resolution from the original publication (original size relationships and left-right orientations are maintained in the prints), each fragment having been digitally manipulated, altered and re-sized to create the new images.