September 2021



Danielle Deley and Allison Baker


Opening Reception

Friday, September 3
7 – 10 p.m.

934 Fest

Friday, September 10, 7 – 11 p.m.
Saturday, September 11, 1 – 11 p.m.

Close of Show

Saturday, October 23, 12 – 3 p.m.

Artist Bios

Danielle Deley

Danielle Deley is an artist, designer, and co-creator of the board game Medium. Her work is a series of painting and textural experiments rooted in pop-art aesthetic. She is currently working as a graphic designer at Studio Freight.

Allison Baker

Allison Baker earned her MFA in Sculpture from the Rhode Island School of Design, a BFA in Sculpture and BA in Gender Studies from Indiana University.

Her work investigates hegemonic femininity as a site of transgression and resistance. Her work deploys irony and the abject in order to make space to ponder the soul-crushing banalities of what many might term “women’s work.” It’s funny (hopefully) but funny with a serrated edge. Allison clawed her way into higher education with a thesaurus and words she cannot pronounce, currently, she is an Assistant Professor of Sculpture and Studio Art at Hamline University where she tries to impart some knowledge of finesse, persuasion, and manual labor.

Show Statements

Danielle Deley

After World War II, my grandparents immigrated to the USA from Italy in search of a new life. Like many other immigrant families, their home decor featured cultural and religious symbolism typically featured in museums. The decor was either personally bought or given as a gift to remind migrants of home.

This story is told using multimedia pieces brought to life through colorful palettes, intricate line work, and textures.

Allison Baker

My creative research is firmly rooted in feminist scholarship; my goal is to actualize abstract theoretical concepts as tangible objects and experiences mediated and documented through sound and video to push the boundaries of both academic research and public education in our precious post-digital moment. Utilizing sculpture, video, new media, and medical narrative of “environmental illness” to examine the competing scientific paradigms that currently, but contradictorily, define and govern the “health” and “normalcy” of our post-digital bodies and homes. Sculptural feminist practice (specifically, the abject) reveals what our previously considered “safe” and “sterile” domestic spaces, objects, and bodies really are: Semi-monstrous organic communities, of which “we” are only one tiny, post-human part.

A thematic subtext of my work revolves around cleaning, caregiving, and labor. I’ve been unintentionally making work about class and gendered poverty from a position of lived experience. Not with a laser-focused clarity or awareness of my intentions and material choices but from within what Bourdieu would call a subordinated position as “the working-class ‘aesthetic’ is a dominated aesthetic,” because I’m trailer trash that likes shiny things and trashy things and nacho cheese.


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