Inversion I and II

These two monumental works function as a paired system rather than discrete objects, staging a deliberate inversion of spiritual and economic hierarchies through repetition, scale, and bodily fragmentation. Stretching to architectural length, the compositions read as procession, frieze, and diagram simultaneously—invoking the visual language of liturgical murals, factory assembly lines, and reproductive charts.

Across both works, the female body—derived from Barbie imagery via gel transfer—is multiplied into a regimented sequence. The bodies are schematic rather than eroticized, reduced to outlines and recurring poses that emphasize sameness over individuality. This repetition evokes mass production and cultural conditioning, positioning femininity as something manufactured, regulated, and endlessly replicated.

Together, the works expose how belief systems—religious, economic, and cultural—are inscribed onto the female body. Mary and gold function less as opposites than as interchangeable currencies, each capable of occupying the role of authority. The serial structure denies narrative resolution, instead producing a loop in which sanctity and commodification endlessly trade places.

By presenting these systems at overwhelming scale, the artist implicates the viewer physically. One does not simply observe these hierarchies; one stands within them. The works refuse nostalgia or irony, offering instead a stark, diagrammatic clarity: what is elevated is not fixed, only decided—and the body bears the consequence of that decision.