Rebecca Bird Grigsby - home
100 days in the dollhouse
This body of work, collectively titled ‘100 Days in the Dollhouse’, began before the pandemic, during a professional transition between day jobs, when I was spending more time at home with my two young children. Initially it was very much a formal exploration of light in different parts of the house at different times of the day. Six months later, the state went into lockdown and the project’s evolving areas of inquiry, largely based in visual explorations of my indoor and outdoor domestic spaces, took on amplified meaning during the early days of the pandemic, throughout a year of distance learning, and more recently during what is still a somewhat cautious re-emergence. The project explores these liminal spaces both inside and outside my home, and around my neighborhood, using almost exclusively repurposed materials, starting with the fragments and decorative elements of an 80s era wooden dollhouse, another smaller dollhouse found on a neighborhood walk, old linen napkins, upholstery swatches, ceramic figurine fragments, and over a decade’s worth of leftover house paint. In addition to the theme of isolation and the illusion of control, I am interested in exploring the idea that, as C.S. Pierce puts it, “existence lies in opposition,” by incorporating porous materials—such as screens, mesh, and nets—designed to filter or otherwise control the movement of various objects and substances.

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