MURMURATIONS
monotype and graphite on Japanese tengujo paper
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Combining words and phrases from interviews conducted with women and nonbinary individuals who have relocated to a different place, this visual conversation—formed from drawings and monotyped words—serves as a reflection on the idea of ‘home’ and the difficulties of displacement.
My artistic research is grounded in the fourth-wave feminist principle of Standpoint Theory, which propounds that the lives of the oppressed should take precedence over the needs of the oppressor. In her seminal Feminist Standpoint Theory Reader, Sandra Harding wrote that “Standpoint Theory helps to produce oppositional and shared consciousness in oppressed people—to reposition marginalized groups as collective ‘subjects’ of research rather than only as objects of others’ observation, naming, and management.” Essentially, this theory contends that research, particularly that which is focused on power relations, should begin with the lives of the marginalized, and should question the notion of ‘objectivity,’ as it is chiefly an ideological norm established, defined, and controlled by those in power. 
While Standpoint Theory is an epistemological tool (rather than a curatorial one), I have applied it in order to critically engage the issue of how women’s narratives are typically treated in the art world. I wondered, throughout my research for my MFA thesis, why the experiences of female-identifying people have predominantly been told over and over by men. Questioning the imbalance of these sexist dynamics in the art world and the sociopolitical situations that enable it, my work is intrinsically tied to the principles of feminist discourse that seek to dismantle the patriarchal system which currently supports such a disparity of power. In order to illuminate issues of misogyny and foster change, the standpoint of the subjugated party must go beyond equal consideration—it should be the primary focus. 
Specifically, I am interested in how women (as well as fem-identifying and nonbinary people) experience the process of relocation, while simultaneously exploring and questioning the notion of ‘home.’ I began this project by interviewing women who have been displaced, transcribing their words into poetry that reflects on their experiences and what ‘home’ means to them. I then use these poems to create visual conversations in the form of large-scale collages that layer drawing, printmaking, frottage, and monotyped text, joining together words that share a kindred spirit. By honoring these stories and transcribing them into poetry and drawings, they become something more—a collective visual narrative, a call for community, and a memory of the quiet pain of displacement.
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