Glass, Wax, Wood, 2017

 36 x 7.25 x 61 in

Unal is a symbol of the natural human desire to conceive in a relationship while balancing the pressures of external cultural influence and sustainability. The name Unal stands for single, or fighting spirit, to touch upon two coming together to be one. I was thinking about ways female artists: Balance their art practice and motherhood; How careers have shifted how and when women have children as opposed to the historic timing of birth; The supportive task of motherhood and roles males plays in supporting women and; The ways in which woman and man care for one another while in an unprepared, financially unstable, and temporary living situation.


The piece is comprised of two glass hands, or two people conjoined together: one side has small fingers with normal proportion palm while the other side has normal fingers and a small palm. Together the two hands complement each other in strengths and differences becoming stronger as one, paralleling how a baby has both sides of the parents genes. The method of producing, the birthing vessel, is made from red wax to point out the temporal aspects of motherhood and short term development of birth within a woman’s body. Pink wax acts as the idea of innocence in love. At the base of Unal, a wax hand as the vagina, then the red birthing channeling up to the uterus with a gentle hand supporting the glass hands atop. The gesture of the lower wax hand is not realistically sustainable, bending over backwards for this birth of this being. The podium is two unstable legs that wobble when others walk around. Ultimately it needs external support in order to keep upright. Thus, I am pointing out the importance of realistic sustainability and stability in relationships while balancing cultural and social factors as a woman artist considering motherhood.