Master of Fine Arts
Through the use of personal place and memory, the artist fosters environments in the gallery to navigate healing from trauma. By cultivating this type of space, survivors of trauma can begin to dissect and navigate through imagery of another survivor in order to visualize ways in which to navigate their own. The artist, Tawny Skye, begins to explore this route by recreating her bedroom in a public gallery. Inviting others to openly gaze at her work, she is bearing her trauma for the audience without directly triggering them with the graphic imagery which is known to cause discomfort, panic attacks, and even flashbacks. She sees avoiding these triggers for her audience as significant as anything else in the #metoo conversation. This work begins to find ways for survivors to openly discuss experiences of sexual assault without further harm. Influenced by the works of Suzanne Lacy, Liza Lou, Tracy Emin, and ancient feminine sculptures, Tawny is using personalized visual imagery to convey emotional navigation, intimacy, and trauma healing. Landscape sculptures serve as reliquaries for her story in combination with paintings in which she alters her body in reference to the process of healing from trauma.
Dissertation or thesis originally submitted to ProQuest.
Armus, Tawny Skye, "Creating Receptive Spaces Within the Gallery: A Look into the Role the Arts has on Survivors of Abuse and its Contribution to the #MeToo Conversation" (2022). Electronic Theses and Dissertations. 3282.