Art History attempts to transgress hegemonies regarding gender and sexuality through the appropriation of iconographic imagery. Viewing the tropes repeated throughout the lexicon of Western visual culture as emblematic of societally situated axioms constitutes them as a fertile ground for critique. Through this framework, historical works of art become a discourse; denoting relational power and control from the institution from which it emanates.
These pastiches are not merely repetitive reconstructions of established works of art, but through the employment of recognizable and overarching themes I have attempted to maintain the intrinsic power of the original canon while reconfiguring it in a way that speaks to contemporary concerns. Though, perhaps viewed as antiquated, these historically situated tropes provide the formational framework for contemporary constructions of society and the institutional power that governs it.
Art History endeavors to seduce the viewer through its ostentatious aesthetic in order to address grotesque underlying themes such as sexuality, gender roles, taboo and the power dynamics situated therein. The aesthetic/topical dissonance aims to elicit an uneasy response in order to subvert the implicit authority and sanctity of the icon.