My art disrupts and opposes the myth of marital bliss that is propagated in the media as the dream of young women. My world is filled with chaos, a rabid and colorful domestic stew that includes the visceral aspects of marriage and childhood—discarded wedding and bridesmaid dresses, used kitchen utensils, baby puke, peanut butter, and broken toys—as opposed to the glamorous existence featured in the plethora of bride and home living magazines available on the newsstands. I began using the rubbish from my domestic life as the primary materials for my art, rather than conventional art materials, when I realized the importance of aligning the content of my art with the materials used to construct it. Some objects are transformed with paint or ripped apart; others are left in their raw state, such as pieces of fabric, dead flowers and broken glass. The construction is energetic in order to mirror the interior and exterior turmoil of domesticity. My most recent sculptures pair feminine tropes—folktales such as Bluebeard, and the contemporary household diva—with violent visual distortions constructed from cheerfully colorful and delicate domestic objects. These works reflect the struggle women face in constructing and retaining their identities within a stringent cultural climate.