In the Twisted series of cyanotypes, E.V. Day has successfully translated the volume and spirit of …
Working primarily in sculpture and installation, E.V. Day explores sexuality and popular culture through a feminist lens, upending symbols of the feminine ideal. In her series of mummified Barbie dolls, Day presented the iconic female figurines encased in materials such as beeswax and silver, which she described as transforming “a sexual or feminized trope into a statement of power and independence.” During a residency at Claude Monet’s garden in Giverny, France in 2010, Day produced prints of flowers that were clipped, pressed in a microwave, scanned digitally, and magnified to 18 times their original size. She then manipulated their forms by mirroring half of each image so that the flowers appear perfectly symmetrical. Through this process, Day removed the suggestion of femininity and organic sexuality that flowers are often associated with, instead presenting images that recall religious iconography—mandalas, shivas, and chalices.
In the Twisted series of cyanotypes, E.V. Day has successfully translated the volume and spirit of her sculptural work onto paper. Day uses layered forms of fishnet stockings to create intricate, yet fluid, shapes and moiré patterns. The sensual shapes and human forms created by the stretched stockings are …
Working primarily in sculpture and installation, E.V. Day explores sexuality and popular culture through a feminist lens, upending symbols of the feminine ideal. In her series of mummified Barbie dolls, Day presented the iconic female figurines encased in materials such as beeswax and silver, which she described as transforming “a sexual or feminized trope into a statement of power and independence.” During a residency at Claude Monet’s garden in Giverny, France in 2010, Day produced prints of flowers that were clipped, pressed in a microwave, scanned digitally, and magnified to 18 times their original size. She then manipulated their forms by mirroring half of each image so that the flowers appear perfectly symmetrical. Through this process, Day removed the suggestion of femininity and organic sexuality that flowers are often associated with, instead presenting images that recall religious iconography—mandalas, shivas, and chalices.
