Gianna Martucci-Fink is a visual artist with an emphasis on sculpture and printmaking. While at Oklahoma State University, she studied Gender and Women Studies and feminist theory, influencing her art historical understandings. As her research functioned to impact her artistic practices, she focuses on addressing contemporary female experiences within a consumerist culture. Her work has been exhibited in Stillwater, Oklahoma at Modella Art Gallery and throughout OSU’s campus at the Gardiner Gallery of Art and at the Orange Grove. Martucci-Fink has received recognition for her creative and scholarly efforts, being awarded the J. Jay McVicker Scholarship in 2018 and Studio Program Outstanding Senior Award in 2020. From 2018—2020 she has worked at the OSU Museum of Art as an Education Intern, striving to implement educational programming, coordinate visiting artist workshops, and organize cultural events. This unique internship has allowed her to experience the operations of museum institutions and has provided her with the opportunity to curate two Student Juried Shows, including the 7th Annual Student Union Art Competition. In the spring of 2020, Martucci-Fink received her Bachelor's of Fine Art and a Minor in Art History. She is now the Co-Host of Artpop Talk- the podcast the explores the intersections between art history and pop culture.
2019, Portrait, Adrienne Turner Photography
When dealing with consumerist ideologies today, women drive 70 to 80% of all consumer purchasing. By utilizing what our society calls “feminine merchandise,” each sculpture calls attention to the devastating consumption of toxic products, such as those associated with feminine hygiene, that are directly affecting the health and wellbeing of women today. As an individual who identifies as female, I strive to create works that addresses contemporary female conditions and its relationship to our patriarchal and consumerist culture, through an intersectional feminist lens.
On average, women use 12 products per day, translating to the exposer of 168 chemicals. By employing products such as menstruation devices or beauty tools that commonly contain parabens, carcinogens, or phthalates, I illustrate the operations of a commercial consumerist society, as it further perpetuates gender inequality. Incorporated through the process of casting, the body is paired with medical or commercial goods and is given unique surface treatments—causing individualized decorative aspects and a cohesive ornamental deign. When acknowledging the restrictive nature and reduction of the body, each sculpture becomes an act of conscious objectification that directly addresses the commodified and normalized use of women’s bodies shown within commercial advertisements.
In creating a variety of three-dimensional works that exist in a shared space, the sculptures create a layered experience through a use of common materials and consistent feminist iconography, while simultaneously evoking a broader conversation about female consumption. Serving as a direct method of communication, each viewer is asked to investigate the ambiguous objects attached and reflect on their own consumer habits.
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