Creep Lez continues Allyson Mitchell’s investigations of queer theory as sculptural material, activist emotions and academic tangles. In her first solo exhibition with Mulherin Contemporary Art Projects, Mitchell pops the top right off the popper by initiating five new artistic trajectories. The work uses text, textile and technology to cut to the quick of wordy theorists with tangled tongues.
“Central Core Imagrah” corks feminist art histories and inherited legacies in felt, macramé and photography. “Sorry Butt This Venis Is a Pagina” gives real estate to gender incoherence using day glow plastic canvas and a floor to ceiling stance. Inspired by comments made about the artist on ratemyprofessor.com the piece “I’m With Problematic” asks: “How do we both resist and reconcile our participation in oppressive systems?” Continuing in this acknowledgement of the dilemmas of feminist and queer cultural participation, “Fifty Shades”, a framed textile original and limited edition photo print, visualizes the “the body” as sign vs. symbol. The exhibition is rounded out with a series of paintings titled “Sheila Pepe’s Moutache” inspired by dyke iconography, verve and virility.
Enraged alongside homicidal lesbian terrorist Hot Head Paisan and soothed by tie die west coast fashion flow, craft forward feminist Mitchell decentralizes the canon and ups the ante on the promise and possibility of “pussy” art in her new exhibition Creep Lez.