Los Angeles

Zizi Raymond

Dorothy Goldeen Gallery

Zizi Raymond’s newest collection of “sculptural” works orchestrates a chorus of female voices chanting their disenfranchisement. Together, Raymond’s “sculptures”—typified by a pair of girl’s undies, the crotch shot through with a menacing cluster of pins—proclaim the negativity or absence of the feminine. The female body, which can’t “exist” except as an object of exchange, is rendered metonymically through female clothing: a deep-green taffeta evening dress, a virginal little girl’s dress with white ruffles and pin-dots, a satin wedding gown, a Girl Scout uniform, a slip. So whimsically begun, the pieces veer toward the menacing with the calculated addition of shredding, perforating, or otherwise violating tools—pins, skewers, a lawnmower. Each ensemble is choreographed to reflect the bruising and oppressive narratives of patriarchal culture.

The clothing is a necessary stand-in for the

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