My prints confront the ways women’s bodies have been framed through the lens of male desire, exposing the tension between objectification and autonomy. By reclaiming the language of fetishization, the work shifts focus toward women’s own expressions of sexuality and desire that is unapologetic, embodied, and self-defined. These images are not about being seen, but about seeing ourselves, claiming space for pleasure, for honesty, for the complexity of female sexuality beyond the gaze that has historically confined it.

Mallory is a student artist who is currently studying her passion, Animation, at Arizona State University. While proficient in various digital platforms, they also have experience in multimedia work such as clay, glass, and neon in their sculptures, and graphite, paint, and thread and lace in their traditional pieces. She loves to create a whimsy and fantasy-like vibe in her drawings. They also have a commitment to express her lesbian identity through her art to normalize diversity and individuality through artistic representation. Mallory’s art is an invitation to enter a world where creativity is limitless, a space where every color, form, and identity is celebrated.
Mallory’s work has been displayed in venues such as Crystal Bridges Museum for American Art (AR), Arizona State University Gallery 100 at Mirabella, Fusion on First in Phoenix, AZ; the Chandler Art Museum; and the Chandler Center for the Arts. Her accolades include the achievement of a Fine Arts Seal on her high school diploma, finishing her Senior Animation Capstone, and graduating in the Spring of 2026 with a Bachelor’s Degree of Fine Arts in Animation, all a testiment to their dedication to the arts.

Arts & Leisure (Crying) looks at the gap between how we present ourselves and what we actually feel. The video places crying within a simulated beach environment—a constructed space meant to signal relaxation, escape, and pleasure. Using Roy Orbison’s “Crying,” the work leans into melodrama, letting the song’s emotional intensity push against the calm, artificial setting. The piece also connects to social media, where leisure is often staged and idealized, and environments function as backdrops for performance. By lingering on an unfiltered emotional moment inside a fabricated paradise, the work questions what authenticity looks like in spaces designed for appearance rather than experience.

The Free Fashion World 4.15.2025

In the digital age, physical material no longer limits fashion identity. If I want to post in a loubuton heel, then all I need is decent photoshopping skills and the gull to pull it off. I don't need the money to buy them or the talent to walk in them- just the courage to post it. This era of the internet is good for that. Anyone can screenshot just about anything for free and post it like it is theirs because, in a way, it is theirs.
I imagine this will change in the future. Just recently, the Internet Archive (a free catalog of media allowing users to find anything ranging from esoteric books about psychomagic to movies erased from the Internet) felt the first throws of the intellectual property witch hunt, losing their "rights" to share media. In this ever-increasingly dystopic late-stage capitalism reality, adding a price tag to just about anything checks out.
Not patenting the internet and allowing it to be a free-flowing melange of whatever it wants to be risks copycats and culture vultures. However, demanding intellectual property and patenting doesn't seem to stop that, as shown by she-in, temu, the KKKardashians, 123movies, and many others' relentless efforts to rip off original creators. Part of me is okay with copying. I have had some of my ideas copied, but then can I even say those ideas weren't replications or, at least, emulations of something else? I fear I can not govern myself to live isolated from the world around me. Being a part of an artistic scene and moment comes with echoing off and going with the rhythm of the collective unconsciousness. True innovators have hearts of gold, and their creations will shine. Besides, everyone knows it's not about who did it first, but who did it best; even then, it is not about who did it but what it is. My thoughts become too vague.
I enjoy this phase of the internet, where we are not too bound by money or laws. I hope it will stay this way, and I'm sure it will on one or another part of it. Today, I will share my moodboard full of free fashion, eyecandy. This post is my love letter to Jeremy Scott, my opportunity to model the clothes I adore but can't afford, and my free fashion moodboard.

P.S I collected all these images because I added a screen time limit to my phone, loosing instagram and TikTok Reels and resorting to Vinted for my scrolling entertainment. However, I refuse to spend money right now, as it feels hypocritical for my anti-consumerism.

Digression- Visiting Space:

Yesterday a group of six women went into space for 100 million dollars, an elite experience by rich people (Jeff Bezos) for rich people (Katy Perry). Anyways the spectacle was only a spectacle thanks to the giant social media push, causing Twitter, Instagram and TikTok to be flooded with content about the space trip. We (the people) know about it only because of this. Otherwise, that is without the internet, we would have had no idea that six rich people payed 100 million dollars to see outspace for eleven... yes eleven... minutes. In my opinion, outer space should be reserved for people that truly merit it-- scientists and poets perhaps (maybe even these people don't merit it). Nonetheless, the spectacle demonstrates the curated window social media can reveal.

As an interdisciplinary artist, I work across media to investigate my family history, my Christian faith, and the challenges of sustaining spiritual practice in an erratic world. Identifying the foundations of my artistic voice has required discipline, reflection, and emotional maturity.
The unexpected passing of my mother, Katherine Doraella Steverson, in October 2021 significantly shifted my practice. To navigate my grief, I developed the philosophy of R.A.G.E.E.—resilience, acceptance, grief, and emotional exploration. As I matured this framework, it deepened my spiritual connection with my mother through visual art, meditative dialogue, and inherited relics such as her annotated Bible. R.A.G.E.E. has created space to examine my experiences through textile sculptures, video, and mixed-media objects, as I began channeling a voice for buried traumas, offering healing for myself and others with complex emotional histories.

Trick of the Devil is an exploration of a theory surrounding the pocket realities each individual occupies. Current place and environment are vital to this theory, as the events one encounters in everyday life become their reality. However, when multiple individuals gather in the same space, those realities temporarily combine. Cultural archetypes, human interactions, and social structures shift depending on the environment, informing the familiarity of one’s reality. What is deemed normal within one reality may differ from that of the person standing beside you, or from those existing elsewhere. Within this theory, social media platforms, news outlets, and other forms of media exchange act as bridges between realities. This video functions as an active database of fight footage sourced from Facebook, Twitter, and a YouTube algorithm that is always listening. Its purpose is to confront those comfortable within the naivety of their own pocket reality with the soft, ambient violence that exists in spaces they do not see, yet actively shape the world they inhabit.

In the age of the internet, porn has become a staple of online culture, making it easily accessible to people of all ages. This constant availability can normalize excessive consumption, especially when exposure begins early. For those who watch porn compulsively, the effects can be long-lasting, influencing decision-making, shaping expectations, and rewiring neural pathways associated with reward, impulse control, and attention. Donated by Mika Dubey.