Playthings is a collection of five separate small-scale sculptural works that seek to raise awareness of historical and contemporary patriarchal violence through reimagined commercialised children’s toys and games. Each piece is highly stylised, relating to specific elements of gendered violence and gendered stereotypes, juxtaposing these themes with childhood innocence to draw emphasis to how these behaviours and attributes continue to be inherited. There is a clear division between the sexes, with the ‘Male Games’ speaking on emasculation and power while the ‘Girly’ toys explore themes like shame and domestic violence. Promotional tags hang from the product’s shelves, urging the buyer to purchase the toys or else their children will transgress from traditional gender roles. 

“My first cover-up”

Acrylic paint, watercolour, pen, plastic and cardboard

My first cover-up highlights how women have historically hidden abuse delivered by men. Using the girl’s makeup kit, I demonstrate how it is often the woman’s responsibility to hide abuse from fear of humiliation. 

“Girly Phone”

Watercolour, gouache, and paint pen on cardboard, acrylic paint, glitter, and resin on clay

Girly Phone similarly explores online harassment directed towards women by insecure men associated with toxic male subcultures like the manosphere and Incel communities. The work includes a clay replica of a cheap plastic toy flip phone adorned with butterflies and hearts that recall the imagery of girlhood. It features a self-portrait that conveys a sense of shock, complemented below by bubble writing stating the product’s name. Abusive, manipulative messages are depicted on the screen, heavily juxtaposing the girly imagery and the proposed purpose of the toy, which is to communicate with boys romantically.

“Domination”

Watercolour, acrylic paint, plastic, paint pen, pen, clay and cardboard

Domination appropriates the children’s game Operation to explore the restriction of women’s bodily autonomy. The packaged game boasts a smiling yet sickly yellow female figure with bagged eyes, who is cut open with various objects inserted within these red divots. The key on the right-hand side of the box guides the viewer to understand what each element represents in relation to restriction. The megaphone represents the woman’s voice, the brain represents her frontal lobe (which was operated on in lobotomies), the uterus represents her reproductive ‘choices’ and the underwear reflects the woman’s right to her safety and sexual liberties. The ‘remove her’ text over the hand pairs with the tongs made from two joining red hands, linking to inappropriate touching and violation. ‘Is there a man in the house’ links back to the original packaging of the game, however, seeks specifically a man to carry out this repossession of autonomy from the woman. Named as ‘female’ rather than with a name, the character is dehumanised, which is the ultimate goal of the game. Just like my Bop Her!, the logo ‘MALE GAME’ is listed, demonstrating to the audience that this practice relates to how young boys are conditioned from a young age to have a superiority complex over the opposite sex. This piece is specifically inspired by Laura Bates’ literature on gender norms and conformity. 

This portrait uses humour to confront the uncomfortable reality of receiving unsolicited dick pics. By positioning the audience as the source of my disgust as I tower over, I critique the societal norms around consent and objectification. This aims to take power away from sexual harassers, as I assert myself as in control through proportion and expression.

“Inside”

Watercolour, gouache, and paint pen on paper