There is a theory that modern day perceptions of wealth are key to the pursuit of freedom in

opposition to the boundaries that surround it are more restrictive. This is essentially like living

within a Gilded Cage.

 

‘Back in your Gilded Cage, Melanie Daniels’ (The Birds 1963) suitably summarizes the ideologies at

the forefront of my work, which investigates the social aspects of wealth and freedom for women. The plaster cast birdcage is impractical, but attractive; restricting, yet lavish and completely false. It is opposed by the reality of its original cage that is primarily used for function other than form and has the potential to be open and free. This cage has less desirability akin to the false perceptions of wealth and freedom. The Lampion floor projection is representative of the freedom that wealth allegedly brings, yet this is walled-in by the physical restrictions that surround it. The walls are chaste white flourished with an untainted lust for femininity and purity; the innocent lie of the artificial woman