R e b e c c a V a u g h a n a r t w o r k s r e s u m e S T A T E M E N T



The primary inspirational source and content of my artwork has centered around gift economies and the cultural and biological methods by which we regulate and maintain our social relationships. Exploring as direct, as intimate a relationship to audience members as I can, I create sculptural installations, conceptual performances and evolving relational projects.

Often these include such elements as those of gender-specific experiences: hand-knitting and needlework techniques, arduously created and intended expressly for the dedication to a loved person. I also employ natural media, such as pheromones, heat and electricity, which are intended to enact human intimate association.

My intent is to explore the unique resonance between organisms and the manners in which they embody the concepts of distribution and networks. The flavor of the work is often manipulative and sentimental.


Combining the freely-formed spontaneous materials of Theresa Anderson with structured and forced materials in Rebecca Vaughan's work, their collaborative sculptures create charged references to the figure as a site of power, desire, career identity and gender.

Theresa Anderson, whose background is in painting and drawing, utilizes everyday household objects like pantyhose, Beanie Babies, fake flowers and trashcans. Her work hypothesizes a scene where characters can possess traits of being both empowered and confronting all the while showing their compromise and supplication.

In a tangential manner, Rebecca Vaughan's work speaks of the suffocation and concurrent ornament of figures who are composed, stand on queue and present their very best for visitors. Using structured sewing techniques, immaculately clean construction equipment and ordered found materials, Vaughan seeks to force materials into subordinance and compliance.

When interfaced, the collaborations create arguments about how one asserts control over the body and the unpredictable nature of biology and sexuality. In the case of Strut, an excruciatingly contraposto body part seeks refuge and limitation from a ladder stabilizer. In the work True Ultimate Zipless A1 Fuck, each collaborators contribution seeks a glorious freedom in a flashy fancy of movement and monument. Ultimately, the works form a conversation about the impossibility of controlling the female gender, excess and cultural hegemony.