Domesticated is a self-organized show by Chelsea College of Arts Fine Art students that took place between March 6th-8th 2020, and included two of my pieces, Things You Should Know and Apron Talk.

DOMESTICATED represents a subjective art practice centred on the individual’s presence within a wider community, in contrast to a white-space gallery. Brought to you by Chelsea College of Arts Fine Art students, the show is set in an open-studio style domestic space, where the curation of the show can be considered a piece itself.

DOMESTICATED understands routine as the ritual through which the gendered discipline of the body is built and interiorized,  questioning the symbolic violence upon female-identifying bodies in the realm of the domestic.

DOMESTICATED brings up issues around body politics, the performance of gender in the everyday, invisible labour, migration and power dynamics.

DOMESTICATED uses interactivity as an essential tool to reconsider identity in relation to culture, gender and space, forcing visitors to re-think their own relation to the gendered status-quo.

DOMESTICATED is a critical appropriation of the home space. A territory our bodies have been socially destined to: in order to beleft unseen, in order to be left aside from the public. A territory we want tobe under constant and collective change and construction. A territory we now reclaim and reimagine.

Things You Should Know is a text piece regarding the feminization of domestic labour, an undervalued form of work that is constantly portrayed as the expectation of something that women ‘should be doing out of love’. The text reclaims domestic work as real, valuable work while using language to play with the idea of multiple narrators, questioning who is speaking and constantly switching between the voices of the opressor and the opressed. 

Apron Talk  is a sound installation that focuses on housework as a gendered and racializedlabour field in the UK. It reveals the legal unprotection, exploitation and epistemic violence as non-English speakers that these workers face, while also portraying stories of self-accomplishment, strength, family and personal life storytelling. The installation explores the performativity of sound and language and its ability to create embodied communities and register the her-stories of minorities and migrant bodies, creating a platform for subjectivities that do not fit into the traditional, static and so-called 'objective’ archive.

Using Format