Mary Elizabeth's Installations
Classical Impressions
Considering the theme of feminine identity and society's stereotypical depictions of the female body, Classical Impressions (2022) connects the idealized forms of the female body with modern-day depictions of dolls. Installed in the shape of a column, this piece is an interactive sculpture that provokes audience-based thought and action.
Materials
Suspended by lace, a typically feminine and gendered fabric, plaster-cast doll impressions hang from a wire hoop, resembling an ancient greek column. Children's makeup is incorporated into the plaster mixture, serving as a formative example of enforcing stereotypically gendered ideals within society.
Transformation
This artwork was created within the mindset of transformation or process-based art. Establishing a ritual-based process, Mary Elizabeth then sought to include other individuals in a group artistic ritual during the piece's installation. Individuals were invited to cut a piece of lace that was suspending a doll form, representing a personal choice to recognize and combat gender norms.
Mary Elizabeth's Installations
Community Quilting
Considering the concept of social interaction within the craft arts, the project "Community Quilting" (2023), began as a personal endeavour to expand Mary Elizabeth's knowledge of sewing. It quickly grew to consider ideas of personal history and community involvement in relation to the craft arts.
Community
Mary Elizabeth had a clear vision of community and social involvement in the craft arts from the beginning. To bring her vision to life, she invited her artistic peers to join her in the creative process. Her fellow artists contributed to the work by embroidering quilt squares, and the final arrangement of the fabric was influenced by the group. These elements further explore the context of social production.
Research
During the development of this project, a period of creative thought and research played a pivotal role. Mary Elizabeth engaged with crafting communities and attended exhibitions to speak with creators, which helped her expand her initial understanding of the craft arts. This creative research was further supplemented with a period of reflection, during which Mary Elizabeth considered her own personal history and her family's interactions with the craft arts, including those of her grandmothers and great-grandparents.
