I anthropomorphise construction objects to explore labour divisions within class and gender. I create construction works with materials symbolic to traditional views of womanhood, and place these indications of construction objects in the setting of a white walled gallery space. The latter fetishises working class labour, by contrasting what is usually a working class job in the context of a middle/upper class work setting, without any working class involvement in this process.

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Good construction goes unnoticed, you only start to notice the pipes once one starts to leak. This parallels with the often unappreciated, unpaid domestic work. In my work I merge these two unappreciated, gendered, private and public roles/jobs together, ie, bricklaying with lard and cement. Furthermore, I make my construction objects dysfunctional through the feminised materials used; soft and submissive materials to indicate hard, tough construction objects. Doing this makes my objects dysfunctional, and therefore heard. 

In their dysfunctionality, a greater value is placed on its aesthetic- much like notions of female objectivity within broader society and popular culture.

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If good construction goes unnoticed- expected but not acknowledged- then so do good

constructors. To make a dysfunctional construction it must be made by or represent a dysfunctional constructor- one unskilled, and therefore heard.