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
haley mcquinson
Who is Hayley McQuinson?
Haley McQuinson is a 23-year-old graduate of Drexel University. While at Drexel, she majored in fashion merchandising & marketing and has recently found a career home at J.Crew as a trend-broadcaster. Prior to Drexel, Haley grew up in the small suburban-town of Ambler, Pennsylvania. She attended Gwynedd Mercy Academy High School in her adolescence. The all-girls Catholic school taught her the value of being an independent woman of God. She was valedictorian of her class, was an annual Honor Roll Student, voted Prom Queen, and was voted “Most Infectious Laugh” in her graduating yearbook. Haley participated in activities such as field hockey, art club, and GMA TV and was the spokes girl for Mercy Girls Charity.
Haley continued to college with five of her Mercy sisters and is an enthusiastic member of the Alumni group and donor list. In her contemporary, Haley finds time to vacation with her best friends (three of which are from Gwynedd, all from Drexel) and participate in Mercy Missions, traveling to Central America at least once a year to build homes for the less-fortunate peoples of these dangerous nations. She has become a fiery vlogger on social media platforms such as Instagram and Youtube documenting the trials and tribulations in embracing real womanhood.
Free from the social constraints of being “the Black friend” and “the Mexican friend”, Haley is able to thrive. She isn’t shy and is a hard worker. She is very social, and she has achieved a notable level of popularity amongst academic peers. She is not troubled with family drama, racial microaggressions, or the closeted fear of being queer. Haley’s contemporary activist life finds strength in advocating for #NOCOLOR, #AllLivesMatter, and #ProLife. In this political climate, she firmly backs her president and feels as though he has the fullest heart for all peoples of this free nation.
Youtube Influencer
Hayley's High School Graduation Headshot
Installation at ACRE Projects Gallery
Hayley's High School Graduation Headshot
Hayley mcquinson's 2014 High school graduation recreation
The Breakdown
Haley McQuinson is the embodiment of my high school alter-ego all grown-up. As a digital performative representation, she embraces the girl I needed to be and the woman I desperately wanted to become. Haley is a critique of white-washed suburban culture, of the upper-middle class, of white feminism and womanhood, and of active black, brown, and queer erasure. Ultimately, Haley represents the performativity that is essential to safety and security for every non-conforming person existing in a dominant white space.
Haley exists primarily in the digital world in order to create an ongoing intangible presence paralleling her existence in my former self. Her vlogs are platformed on social media outlets allow for the insight and validation I was looking to access via visual and cultural representation. This allows viewers to see the stark contrast between myself and Haley. Haley also exists in the tangible world through installation of her most valued objects. These objects are important because they allow for mobility and understanding through a more personal perspective.