Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Miscegenation is defined by the dictionary as the interbreeding of people considered to be of different racial types. The Products of Miscegenation, aims to discuss the internalized fetishization contemporary United States culture has around multiracial relationships and multiracial people, while simultaneously acting as tangible skins that detail the confusion in identity of each multiracial individual. The skins are ever flowing between garment, sculpture, and installation. This way there can be no expectation of the skins to fulfill one need. They are always constantly fulfilling multiple at the same time. This leaves a tension between viewer and displayed, posing the question of definition. Can the viewer define the skins and bodies or can only the skins and bodies define themselves? The feeling of “otherness” is inherent and leaves each individual skin to be a spectacle for consumption but also a protective covering for any multiracial person that chooses to wear it or inhabit it.
The intention of the skins is to be a protector of the bodies underneath if worn as a garment. When installed as a sculpture, they are intended to become their own entities and their own beings that can only be fully understood from the inside out. When placed as an installation setting, the skins are to be used to create a safe space for each multiracial being, protecting them from fetishization. Each skin is always garment, sculpture, and installation. They are not one over the other and are always interchanging in accordance with the body they take up, paralleling the journey of the multiracial individuals.
Lish Atchison-Roeder
CV
education
School of the Art Institute of Chicago Bachelors of Fine Arts. Spring 2020
group
For the Time Being, ACRE Projects. Chicago. IL. December 2019.
SAIC BFA Thesis Exhibition, Sullivan Galleries. Chicago, IL. November 2019.
Projections on Loop, Colombus Building at SAIC. Chicago, IL. October 2019.
Germinate, Vomit House. Chicago, IL. September 2016.
SAIC Fashion Show, Garfield Park Conservatory. Chicago, IL. May 2016.
Deconstruction Project, Sage Fashion Galleries at SAIC. Chicago, IL. November 2015.
solo
Fiber Department Display Case, Fibers Department at SAIC. Chicago, IL. November 2019.
Garment commissioned by Chicago influencer for New York City Fall Fashion Week. Manhattan, NY. September 2018.
creative direction/curation
Water Becomes Blood. Woman Made Gallery. Chicago, IL. June 2021.
The ArtWear Collective. Chicago, IL. 2018-2019.
Fool Society Fashion Show Vomit House - Chicago, IL. August 2017.
Germinate, Vomit House. Chicago, IL. September 2016.
museum + NPO experience/direction
Gallery Assistant Intern, Woman Made Gallery. Chicago, IL. 2020.
Development Intern, Hyde Park Art Center. Chicago, IL. 2019-2020.
grants
Level Up! Shapiro Grant Shapiro Center, SAIC. Chicago, IL. June 2018.
personal brand/business
TAG(urknit). 2022 - current.