Beelzeblonde is an ongoing personal project, bringing together seemingly juxtaposed ideas and questioning why they are ‘out of place’ to one another.
The machine-embroidery notebook explores the delicate boundary between comedy and tragedy through the provocative and playful imperative stitched into the fabric alongside its devilish companion. To kiss and to ‘X’ contrasts an expression of compassion with a marking of something as incorrect or wrong. Through this the cover asks the audience to consider their acceptance or rejection of its design and what fuels that reaction.
Continuing from the notebook a series of Risograph prints were created, experimenting with the capabilities of the process and visual identity of the character.
Beelzeblonde pt.1 introduces as blonde wig to the visage, contrasting the angelic associations of the quintessential fair hair with the atypical demon-like guise of the face. The film is partly inspired by Douglas’ quote “dirt is a matter out of place,” and looks to unpick the dirty associations around specific acts and aesthetics surrounding dress. It focuses and zooms in on what might be described as uncomfortable interactions with the body, inviting the audience to question what might inform this emotional response.
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Sunara Taylor states in conversation with Judith Butler that she feels in LA there is more “social acceptability” for people with disabilities because of the increased “physical accessibility.” Through a similar principle I believe dress can provide physical accessibility to the socially unacceptable. Through the materialisation of uncomfortable concepts they transition from ‘alien’ to familiar, helping to destigmatize harmful taboos that shut down discourse.
