This exhibition is intended to be both intriguing and disturbing for viewers. Liss kept it personal for her first solo art exhibit, by paying tribute to her identity as a southern, queer women.
This show is full of homages to the American dream of the 1940s, which was dominated by white male breadwinners and domestic silent women.
Liss has a very playful and intimate way of bringing this into her art, with the use of things such as jello and a candy gun/ female urinary device (this term was new to me, click to learn more).
The exhibit is pretty interactive. When you walk in there is a video, I highly suggest watching, it gives the artists back-story, inspirations, and materials used. Around the corner was, what I consider to be the focal piece of the installation, a giant Dairy Queen sign altered to flash between “Queer” and “Queen”.
I think the message being made here is both clear and playful. If you disagree Liss has invited you to put on the neon love shades at the entrance. With this new bright and loving view, you are welcome to continue into the art space.
Here the atmosphere within is created by mixing physical objects and film or neon. This concept brings both still objects and movement together in her art.
In the piece captured below Liss repeats kicking herself in the butt with heals and films it. She also captures the healing process in large framed images on the wall beside it, giving the piece a completed feeling.
Liss’s art has a lot to say. While I personally did not agree with all of her viewpoints, her art is thoughtful and vibrant. Art doesn’t have to be beautiful but it should impact the viewer in some way.