The Domestic Biosphere explores various organisms within the natural environment that resist, reject, and disrupt patriarchal systems. This is for the sake of encouraging humans marginalized for their childbearing reproductive organs to learn from and find inspiration from these organisms.  To find ways of creating pockets of agency, mimicking actions of nature, regaining empowerment, thriving, and surviving within environments that don’t support them. Representations of Venus Flytraps, Grapefruits, Pitcher Plants, Orchid Mantis, and Microbial Beings are showcased throughout this installation. 

The Venus Flytrap, while historically stereotyped as synonymous with predatory feminine anatomy, is also endemic to North and South Carolina. The Carolinas are hostile with their abortion laws and views on reproductive rights, and as a plant named for its visual resemblance to historical myths of the Vagina Dentata, there is paradox in its existence and ability to thrive in these states. The Orchid Mantis uses tactics of camouflage to mimic nature and evolved to its large size as an act of survival rather than for reproductive purposes. The Pitcher Plant, while commonly associated with the femme fatale archetype, stands as a prime example of symbiosis and cultivating mutualistic community. Counter to its common emphasis on its carnivorous nature, it can be described for its hospitable characteristics, as the nectar of the pitcher hosts several different anti-enzymatic organisms that work in symbiosis with their pitcher plant home to keep each other alive. The Grapefruit visually reflects childbearing reproductive anatomy and, as neither a sweet orange nor sourly acidic pomelo, can stand as a symbol of the hybrid, complex, and intersectional nature of what modern-day American feminism looks like. Additionally, the Grapefruit reflects a symbol of disruption to the hegemonic western-based pharmaceutical industry. As a disrupter of many common drugs prescribed in the U.S., it symbolizes the relevance and importance of holistic, natural medical approaches to health and self-care. Lastly, the Microbial Beings, consisting notably of Penicillium, Physarum polycephalum, and samples from the human microbiome, represent a push towards communal collaboration for the resilience of the self and the surrounding community. The intelligence existing within these “non-thinking” beings can be vital to understanding potential survival methods. 

Through intentional biomimicry and alterations of mid-century furniture, the Domestic Biosphere creates comfort in distressing spaces and times. Mid-century furniture, popular throughout the beginning of second-wave feminism, has stylistically made a comeback in the modern day, metaphorically showing a connection to how we are at the same point of history today as we were during second-wave feminism with backtracking of reproductive rights and the overturn of Roe vs. Wade. The living room setting intentionally cultivates a sense of relatability, comfort, and serves to be a place to carve out agency for navigating a harmful society in the safety of the home. The living room stands as a symbol of resistance through rest and self-care, while the alterations to the furniture stand as resistance to stigmatized roles of femininity and domestic life and display the pains that come with these associations. 

Our teachers from the biosphere can empower and encourage people to carve out spaces of agency and supportive existence. They can lead the way to the reclamation of power over longstanding myths and stigmas that have historically caused harm and can exemplify the importance of rest, holistic health, and mutually reciprocal community building.  Modern life brings with it stress and discomfort. However, a home inspired by the teachings of nature can be a sanctuary for the practice of self-care. By nurturing ourselves within the Domestic Biosphere, we can build resilience to the challenges of the outside world. This newfound strength can then be used to advocate for a more just and equitable society that supports the well-being of all individuals.  

*This installation came to fruition as a result of leaning on my community for help and support. I owe thanks and deepest gratitude to Walter Ware, Mike Knudsen, Marin Abell, Leslie Boyd, Anne Yoncha, Kyle Skattum and the Skattum family, Dr. Helene Ver Eecke, Maya Peterson, Reece Bailey, Oliver Cruz, and many others who helped bring this project to life.