Kitchen science
performance prints

Protocols is comprised of 100 6 inch x 4 inch recipe cards created from images that I have collected from a wide variety of popular sources. These cards map the cultural and social role of the kitchen in American society and are mounted on the wall to form a giant recipe card. My collage is a recipe that reveals the kitchen as a cultural construct with a specific ideological role. The kitchen in my collage is sanitized, homogenized and rendered banal. Some of these cards are actually lenticular flips created by digitally manipulating a video I took of a scientist preparing a DNA prep. Protocols examines the way in which science has provided new technologies and processes to industry for their transformation into household consumer products that are traditionally marketed to women.

Measure Me is a two-dimensional work that explores the dialectic of nurture and nature by juxtaposing two standardized measuring devices, the domestic measuring cup and the science beaker. The measuring cup represents the cultural construction of female identity while the beaker signifies its biological basis.In both images my identity as a woman is defined through the tool I hold in my hand.

Table of Equivalents is a two-dimensional work comprising four inkjet prints of digital photographs arranged in two sets of pairs, one pair directly above the other. I use this structure to invite a comparison between the pairs through their juxtaposition. On the right are two images of Dr. Agnes Fay Morgan, who was a professor of organic chemistry from 1916 to 1954, in the home economics department at the University of California, Berkeley. These pictures are paired with her modern day equivalent, Dr. Phyllis Robinson, a professor of neurobiology in the biology department of University of Maryland, Baltimore County.

ThermoDynamics of Forgetting: Entropy is about the way a culture communally forgets. It was inspired by the chapter, A Brief History of Flow, in the book Digital Aesthetics. The author, Sean Cubitt suggests there is an analogy between the flow of household utilities and the flow of information. I use this analogy in the piece to embody the notion of modern progress. The domestication of technology is purposeful and deliberate. The doling out and consumption of information in the private sphere reflects, through a pretext of individuality, cultural mores. The images in this work symbolize potential energy. The three colored images along the center vertical axis depict ice, heat and water implying a scientific phase transition. However, In this piece the potential for change gets diluted and the energy required for transformation dissipates as the “flow” ends up reinforcing the status quo. Thus, a cycle is created by which something new is created, appropriated, then promptly forgotten.