Lauren Kelley uses stop-motion animation to explore stereotypes of femininity and race. By using her voice to speak for a cast of black dolls, Kelley breathes life into plastic characters while poignantly and humorously addressing issues such as gender, womanhood, and the human condition. Whether telling stories of unplanned pregnancy or exploring the world of flight attendants, Kelley’s work introduces its viewers to a world in which dolls and puppets are caught in endless streams of consciousness and are trapped in a bizarre theater of the absurd.
In Big Gurl, Kelley uses a combination of Barbie™ dolls, Claymation, and stop animation to create a series of satirically comedic and outrageously humorous vignettes. While Barbie™, the popular mass-produced doll, is frequently referenced in popular culture, the artist brings a unique perspective to the doll’s iconic frame. In this work, Kelley alters the doll to create a variety of shades, shapes, and sizes to address the spectrum of black female physique as well as tackle the serious subjects of pregnancy, male chauvinism, self-image, intergenerational relationships, and class. Challenging the notion of physical imperfections, Kelley ultimately investigates the spaces, allotted and claimed, to explore ideas about female adolescence and womanhood.
Lauren Kelley, Big Gurl, is featured in tête-à-tête, a group exhibition in its seventh iteration curated by Mickalene Thomas. tête-à-tête is concurrently on view with Mickalene Thomas: Mentors, Muses, and Celebrities through May 20, 2017.