Chloe Tizzard’s art practice references the politics of individuality through feminist perspectives and methodologies. They employ pop motifs and kitsch materials to explore social demographics, the cultural positioning of people and the politics of access, taste and class. Tizzard parodies and appropriates familiar imagery, using humour and hyperbole to destabilise dominant narratives. Tizzard uses hand-stitching as a meditative and feminist methodology.
Pervert and The Orifice of Delphi reference Tizzard’s interest in the connections between feminism and queer theory. The sculptures undermine traditional binaries to appear both desirable and repulsive, to encourage exploration of erotic taboo, ambiguity and excitement. Pervert entices the viewer to touch and interact with its maternal body, encouraging confusing desire and attraction, while The Orifice of Delphi sits by its feet like a pet or companion. Equally ambiguous, she is part cosmic egg, part divine mother. As abstract figures with confusing yet recognisable connotations, the sculptures invite the viewer to consider their relationship to excitement and desire when finding and making meaning from the mysterious sculptural forms.
