Bagdon, Andrea, authorOsborne, Erika, advisorBernagozzi, Jason, committee memberRyan, Ajean, committee memberLittle, Ann, committee member2021-06-072021-06-072021https://hdl.handle.net/10217/232532Historically within the canon of art, specifically painting, the female form and ultimately female identity was understood in binary terms as being an opposite of the heroic male, conveyed as a commoditized trope of the feminine. There was a disruption to the canon of art in 1968 with the invention of the handheld Sony Portapak camcorder. Many female artists adapted video into their artmaking practice for its ability to become an effective communication medium. In its infancy, the medium of video was not yet dominated by male artists and was not taught in most art institutions. Thus, it represented a medium untainted by the baggage of art history. As a result, experimental video became a feminist medium which offered an alternative form of mediation to subvert the patriarchal artistic canon. Artists have the potential to be researchers of perception and Art can become an agent of mediation to breakdown subjective social orders that cloud our consciousness. My work aims to decode and expose the abstracted systems of femininity and the domestic by using the image processing mediums of video and paint. My paintings and videos unveil multiple emotional states from the same female-identifying psyche in order to examine intimate scenes of self-conflict which have been brought on by obsessive cultural programming. By using uncomfortable representations of the domestic and the figure I also intend to highlight the psychological trauma and disrupt the patriarchal lens that is inherent within the canon of art.born digitalmasters thesesengCopyright and other restrictions may apply. User is responsible for compliance with all applicable laws. For information about copyright law, please see https://libguides.colostate.edu/copyright.experimental videopaintingwomanhoodfeminismabjectpsychoanalysisText