Donna McCullough, ‘Miss Charles Chips ’, Artist's Proof

This unique cut and found welded metal standing 51 inches tall, is comprised of vintage Charles Chip cans with a steel base. The piece is signed on the back by the artist. A certificate of authenticity is included.

About the Artist
Donna McCullough‘s Garden Girls and Drill Team series, which is comprised of mesh, steel, and bronze dress forms, coaxes the audience to re-examine their perceptions of the cultural icons, gender stereotypes and the nature of these unyielding metals. Intrigued by the dichotomy between perception and reality, her medium becomes symbolic, where the qualities of metal define not just itself but the object it eventually is molded to become. McCullough employs a juxtaposition of extremes: such as lightness and gravity, suppleness, and intransigence, to convey feminine sensibilities. The duplicitous nature of bronze or mesh, which can be manipulated to appear feminine and soft while actually maintaining its strength and rigidity – the dresses are at once both elegant and imposing.

“Fashion is well known as a reliable reflection of cultural trends and historical events. On a personal level, it has become my creative vehicle for exploring the emotional roller coaster of life. My inspiration arose from contemplating the dichotomy between the perception of women as fragile, delicate creatures, and the reality that most women are defined by resiliency and steely resolve. I like the duplicitous nature of steel which can be manipulated to appear feminine and soft while actually maintaining its strength and rigidity—an expression in contrasts and complements.” -Donna McCullough

“ Could there be a perfect symbol of modern America than the oil can? The oil can captures the essence of that country in a single object. It conjures up images of the car industry providing whole town employment, import and export and private car ownership. The oil can embodies the mixed message of consumerism versus the open road of the early pioneers and the advertising industry, with its logos and graphics, competition and power, conspicuous consumption and flagrant waste. These dresses demonstrate their own transition, from the functional to the fabulous, from the Industrial to sculptural. By deliberately leaving the iconography of the oil can intact, this dress is a consumer icon, it recognizably retains its original identity although it now exists in a new form. McCullough refers to her series as, “The Drill Team”, a phrase which at a stroke conjures up a number of diametrically opposed images. The name has overtly masculine overtones; heroic, idealized men and machinery exuding power, danger and the exploration of unknown territories in hidden depths. But it also references the Drill Team of the cheerleaders who decorate the peripheries of that great, essentially masculine institution; the American Football game with displays of colorful choreographed athleticism, noted solely for their twirling of pom-poms and blatant femininity. The value to be found in Donna McCullough’s work is in her development of a genre that although technically less than a century old, can trace its origins through the history of art.” Excerpt from Donna and The Drill Team – An Interview with Donna McCullough by Michael Stewart

About Donna McCullough