maeshelle west-davies, my face. Pertanzform 1. Edition Curated by Alessio Trevisani and Yuko Matsuyama  Photo courtesy by Lorenzo Buongiovanni © 2.jpeg

my face

In November of 2018 I started seeing Korean women smashing make up in order to “smash the patriarchy” on instagram. Beauty expectations were so high there that women couldn’t even be seen on television wearing glasses. I thought about the role of make up in our lives. Can you wear makeup and still be a feminist?

For six hours straight I put on and took off my make up.


pic a card by maeshelle west-davies

pic a card

intimacy and distance, virtual and reality. what’s lost or gained in the transformation? endless photos and no touching. two mattresses in arms reach, but not connected. i sit on one with a deck of karma sutra playing cards. people pick a card from the fanned deck i hold facedown. then they show it to me. i do the female version of the sexual position on my mattress while they shoot my photo. then they do the male version on theirs while i shoot them. these images were printed out and placed on the beds for the installation at Two Americans Offshore at Westpol in Lepizig, Germany.

hollow by maeshelle west-davies video still videographer anna kiljunen official
hollow by maeshelle west-davies video still videographer anna kiljunen


HOLLOW works on the principle of covering, but whats inside does not exist. I add layers of chocolate and move as slowly as possible. in buhtoesque manner, I teeter between good and evil, never settling on one. The live performance lasts until people are immune to it it. Once evil becomes common place, we are all hollow.

In the pictured performance I added glitter to the mix for the Alchemy and Metaphysics opening at Trestle Gallery, NYC.

response performance:video installation by maeshelle west-davies


Drawing on recent happenings and a lifetime of exposure, I set out to discuss how we respond to the world around us and how those responses are interpreted by others. “response” was shown in a black box with an open drag dressing room beside it. Inside the box were 6 tv screens, each with a 50 minute loop. There was 8 hours of unrepeated live sound and an option to listen to headphones with other music, making the response unique regardless of whether or not you happen to experience the same visual imput. During the live performance I wore various combinations of costume and make-up. I responded to whatever was the first physical move I saw on the monitors when entering the box. I explored that move until it was exhausted and left the space to repeat the process again and again until I was exhausted.


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