Allison Green, "TV Dinner"
Clay, mixed media
3" x 5"
2021
STATEMENT
These miniature sculptures address the humor and horror of Americana food culture, such as waste, excess, and the isolation of cooking for many and eating alone. They are rendered in miniature; by emerging from a craft aesthetic, taking up very little space, these toy-like objects encourage a feminist reading.
BIO
My work as an artist emerges from a 10+ year career as a costume maker and craftsperson; my sculpture borrows motifs from the domestic arts to create insightful objects that can be read as both humorous and unsettling.
Recent projects that have cultivated my artistic perspective include constructing costumes and working wardrobe for Broadway and Off-Broadway theater (2016-2018), costuming and crafting for Sesame Street in the Jim Henson Creature Shop (2022-present), and fabricating scenic art and props for the Macy’s Herald Square Holiday Windows (2022-present). My approach to design focuses on the patterns, the play, and the precision that I have needed as a maker across these varied industries.
I work most often in miniature, sculpting from materials like fabric and toys: familiar and trivialized objects. When transformed into art pieces, these everyday materials reveal narratives of the invisible labor that has historically been expected of women and other marginalized groups relegated as “domestics.” Craft has long been separated from art, and my work strives to address this false divide, centering the traditional techniques and hidden feminism that shape today’s art discourse.
Clay, mixed media
3" x 5"
2021
STATEMENT
These miniature sculptures address the humor and horror of Americana food culture, such as waste, excess, and the isolation of cooking for many and eating alone. They are rendered in miniature; by emerging from a craft aesthetic, taking up very little space, these toy-like objects encourage a feminist reading.
BIO
My work as an artist emerges from a 10+ year career as a costume maker and craftsperson; my sculpture borrows motifs from the domestic arts to create insightful objects that can be read as both humorous and unsettling.
Recent projects that have cultivated my artistic perspective include constructing costumes and working wardrobe for Broadway and Off-Broadway theater (2016-2018), costuming and crafting for Sesame Street in the Jim Henson Creature Shop (2022-present), and fabricating scenic art and props for the Macy’s Herald Square Holiday Windows (2022-present). My approach to design focuses on the patterns, the play, and the precision that I have needed as a maker across these varied industries.
I work most often in miniature, sculpting from materials like fabric and toys: familiar and trivialized objects. When transformed into art pieces, these everyday materials reveal narratives of the invisible labor that has historically been expected of women and other marginalized groups relegated as “domestics.” Craft has long been separated from art, and my work strives to address this false divide, centering the traditional techniques and hidden feminism that shape today’s art discourse.
Clay, mixed media
3" x 5"
2021
STATEMENT
These miniature sculptures address the humor and horror of Americana food culture, such as waste, excess, and the isolation of cooking for many and eating alone. They are rendered in miniature; by emerging from a craft aesthetic, taking up very little space, these toy-like objects encourage a feminist reading.
BIO
My work as an artist emerges from a 10+ year career as a costume maker and craftsperson; my sculpture borrows motifs from the domestic arts to create insightful objects that can be read as both humorous and unsettling.
Recent projects that have cultivated my artistic perspective include constructing costumes and working wardrobe for Broadway and Off-Broadway theater (2016-2018), costuming and crafting for Sesame Street in the Jim Henson Creature Shop (2022-present), and fabricating scenic art and props for the Macy’s Herald Square Holiday Windows (2022-present). My approach to design focuses on the patterns, the play, and the precision that I have needed as a maker across these varied industries.
I work most often in miniature, sculpting from materials like fabric and toys: familiar and trivialized objects. When transformed into art pieces, these everyday materials reveal narratives of the invisible labor that has historically been expected of women and other marginalized groups relegated as “domestics.” Craft has long been separated from art, and my work strives to address this false divide, centering the traditional techniques and hidden feminism that shape today’s art discourse.