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
Keeping up
Keeping Up, 2019.
Animated GIF
Keeping Up, 2019.
Documentation.
Projections on Loop at Columbus Galleries, SAIC, 2019.