I create works on paper that combine photography, printmaking, drawing, and the laser cutter to create haptic surfaces that elevate the physicality of the body. Through my images, I explore body in relationship to gender, sex, and identity and respond to the current political and social climate that I have experienced into adulthood as a genderfluid person. Those complexities are often questioned or dismissed entirely if they do not appear to fit the cultural understanding of the socially constructed gender and sex binary. When I make work, I think about how important it is to classify a person and their body for documents, applications, or bathroom usage. In our culture, it has been made easy to simplify a person down to their body parts, to objectify them as we search for what makes us different from or the same as them.
I present the viewer with ambiguous or obscured sex characteristics that could be understood as male, female, both, or neither. When photographing for source material, I ask hired male models to pose 'femininely,' resulting in a re-gendering of the figure and a rejection of the socially constructed understanding we have of certain body language and body parts. By doing this, I not only challenge the way that women and men are typically portrayed, but also reject the notion that behavior, body language, and body parts are exclusively for one or the other sex. Instead, I argue that body language, behavior, and sex characteristics are not absolute truths and tend to be more fluid and complex than what the socially constructed binary imposes on us.
To elevate qualities that are typically seen as undesirable in our visual culture, I use printmaking processes to create enticing strokes of color, speckled textures, and tight cropping of photographic imagery that form an aesthetically alluring, haptic surface. Typically, evidence of naturally occurring bodily textures are not valued in our culture and are removed digitally by manipulating widespread images or physically by modifying a body with cosmetic or aesthetic surgery. To reference that removal, I employ laser cut paper stencils that have been physically burned and altered, an implication of the eradication of blemishes from flesh.
Kayla Seedig earned their MFA in Printmaking from the University of North Texas in May 2017. Throughout their graduate career they were awarded Graduate Assistantships and Teaching Fellowships in drawing and printmaking courses, and have assisted at Frogman's Printmaking Workshop for two years. In 2016, they were invited to lead a visiting artist workshop in printmaking and drawing at their alma mater. Seedig has been featured in various group and solo exhibitions in California, Georgia, Michigan, Nebraska, South Dakota, Tennessee, Texas, and Washington, as well as internationally in Columbia.