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In her essay "Roman Labyrinth Mosaics and the Experience of Motion," Rebecca Molholt argues for the consideration of Roman floor mosaics beyond their visual qualities. She implores the audience of the floors to "examine them kinesthetically, as experiences that are by no means purely visual." The combined visual and bodily sensation of walking across a labyrinthine mosaic that Molholt describes lives throughout my interdisciplinary art practice as performance that roots my research practice into feminist issues such as abortion access and mental health visibility into art works that are both visual and visceral. My current research concentrates on nuclear power plant operations in New England and eighteenth-century corsetry.
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