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
Dreamland: A collection of works
Mother, can you see what I have built for you? It's a shaddy place! Like the ones I used to make for my naps out of all the blankets. Maybe you don't remember because you weren't there to see them. But look, I made one for us! It's of that land you always speak of, the place you called home. But since I've never been there I wasn't sure what it looked like so I made some of it up. We can sleep here and cuddle as soon as you come back, just like we used to every time I would come to see you. Your mind has wandered off again and no matter how hard I look I can't find you. That's why I made this place because I think you got lost here a long time ago.
Mother, are you already here in Dreamland? I can't hear you or see you but I feel your presence. I think you might be here but I can't get past the blankets! I can't find you! I'm lost without you. This place is your home, not mine.
***
If you find my mother let me know. Her name is Kate, but here she goes by Claudia.
Dreamland
Dreamland 2019
Screenprint and heatpress on blankets and bed sheets, embroidery, stuffed satin
Dimensions vary
Ambient sleep
Clip from Ambient Sleep 2019
00:23:59-00:24:59
Video & Sound
on this night i fell asleep
Excerpts from On this Night I Fell Asleep 2019
Bedtime Story
Illustrated by Vani Aguilar