The artistic drive of American artist Blakelee Pieroni is rooted in exploring and expressing the physicality of women’s experiences. Pieroni strives to make the invisible visible through performance art that delves into the depths of womanhood. Her work is fueled by a persistent fear of losing herself to motherhood, womanhood, objectification, and sexualization.

​an article written by ARTICULATE
Photo courtesy Julian Lazaro @julianlazaro

The artistic drive of American artist Blakelee Pieroni (b. 1994) is rooted in exploring and expressing the physicality of women’s experiences. We have had a talk with her about her project m OTHER and how her work is fueled by a persistent fear of losing herself to motherhood, womanhood, objectification, and sexualization. 

From where is your drive generated, in regards to your artistic work?

My artistic drive is rooted in exploring and expressing the physicality of women’s experiences. I strive to make the invisible visible through performance art that delves into the depths of womanhood. My work is fueled by a persistent fear of losing myself to motherhood, womanhood, objectification, and sexualization. Each of my projects examines the dichotomy between perception and reality: what we see women doing versus what they are actually experiencing.

My background as a professional dancer, trained to perform physically challenging acts without showing any struggle, has profoundly influenced my perspective. This mirrors the intense, often unseen efforts of motherhood and stepmotherhood. Through my art, I aim to reveal the authentic, unfiltered realities of women, highlighting their unseen labor and experiences.

Blakelee Pieroni with performers Akane Little, Sarah Zucchero, 1133 Avenue of the Americas, 2022.

How did you develop your artistic vocabulary?

My artistic vocabulary developed organically from my background as a dancer, where every step is underpinned by a thousand unspoken cues. I visualize the painting before the canvas is even laid down, much like how I envision a dance before my body moves. Each piece, whether digital, physical, or live, begins with a "choreography map." This map is a real-time sketch of movement, rhythm, cadence, and the embodiment of motions. It guides the evolution of the work, infusing it with an intense interplay of color and texture.

In many ways, my work is bottomless, akin to the endless cycles of domestic labor or the perpetual fight for equal rights. The lines in my art never stop writing themselves, constantly striving towards completion. My art emerges from this continuous, visceral dialogue between the seen and the unseen, the performed and the felt.

m OTHER, curated by Blakelee Pieroni.

What is your preferred media and why?  

My preferred media is performance art, a realm where meticulous, repetitive routines stretch across various environments. This medium allows me to weave the narrative of domestic labor with the many stigmas imposed on the female form. I strive to create visual narratives that resonate deeply within my spaces.

Props play a crucial role in my work. They serve as straightforward conduits for my message, cutting through the noise to reach mainstream audiences and media. My goal is to make you understand, feel, and become uncomfortable. Through this discomfort, I hope to provoke change. 

Are your works pre-thought or do they emerge on their own?

My works exist in a delicate dance between pre-thought and emergence. For independent projects, I dedicate uninterrupted time daily to explore and embody the ideas I want to bring to life. As my previous answers suggest, many of my deepest conceptual pieces arise from acts of domestic labor within my home.

Take, for instance, "Personhood," a performance art piece from my m OTHER Exhibit 2023. It featured four women staring into, dirtying, and cleaning mirrors scattered throughout the gallery for five hours during the opening reception. These women were invisible yet commanded the largest emotional presence in the space.
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When painting, I synchronize my pace with my paint. The slow drying process of oil paints, which can take weeks, allows me to continuously evolve and deepen the concept. The emotional journey is just as vital as the physical creation, with each brushstroke tracing the contours of my thoughts and feelings, allowing the work to unfold organically.

m OTHER_ The Misunderstood Other Mother. Director Clare Louise Cheyne. Photo Tianna Brown, Kayla Naije, Maya Dwyer

What do you believe is a key element in creating a good composition?

I value rhythm. You can discern an artist's identity through the rhythm of their work.

Do you work with a project-minded approach, or do the themes of your work evolve in a more dynamic way?

My approach has evolved dramatically over time. Before m OTHER, my work was scattered and chaotic, intentionally selfish, and devoid of cohesive collections or clear sense. However, becoming a full-time stepmom at 24 compelled me to focus on the collective struggle of stepmotherhood. This experience ignited a stable, consistent, and fused concept that became the backbone of my work. Curating the explosive synergy of several artists in one space has been transformative for me.

In my studio, my practice remains impulsive, messy, and carefree. Yet, through this chaos, I fight to represent the countless women raising children they did not create. My themes evolve dynamically, fueled by both personal experience and a deep connection to the collective narratives of these women.

Personhood, performed at m OTHER at ChaShaMa 65th St Gallery, 2023

What has pushed your curatorial project m OTHER forward, and how did you invent the concept to begin with?

I was about three years into full-time stepmotherhood and a horrible custody case when I abandoned the futile cycle of self-help books and therapy geared towards nuclear family emotional well-being. Instead, I delved into researching art centered on the stepmother experience, only to find a void that mirrored my own isolation. There was nothing. Surrounded by responsibilities, tasks, and commitments, there was no visual or verbal explanation for the depth of my experience, even to those closest to me my experience, isolation, and depression did not phase anyone. 

This project emerged out of vital necessity rather than lifelong dreams, a quest for clarity through what I knew to speak to me. As many artists acknowledge, art has a profound ability to heal and provide meaning; I sought to make sense of my experience through creation, I just did not think I would be the first one. 

The m OTHER Exhibit, now entering its second year, courageously delves into the complex and marginalized role of stepmothers. This multifaceted role encompasses navigating the delicate balance of loving stepchildren as one's own while refraining from overstepping boundaries, shouldering the emotional and practical responsibilities of the family without receiving the recognition or acknowledgment typically afforded to biological mothers.

The exhibition sheds light on the silent struggles endured by stepmothers, including the fear of legal repercussions and societal pressures that have discouraged several women from participating. These challenges underscore the harsh realities faced by stepmothers, emphasizing the urgent need for societal awareness and support for this often overlooked demographic.

Expanding into the documentary m OTHER: The Misunderstood Other Mother, directed by Clare Cheyne,  marked a significant milestone, gaining recognition in stepmother-centered media spaces and attracting support from influential voices. As the exhibition gains traction, my intention is to continue annually, pushing for visibility not just in the art world but also within legal and mental health systems. The alarming statistics—70% divorce rates in second marriages and double the depression rates among stepmothers—underscore the urgent need for societal acknowledgment and change.

m OTHER, curated by Blakelee Pieroni. Photo Julian Lazaro @julianlazaro

Does your curatorial work for m OTHER inform your own artistic practice in any way or vice versa?

m OTHER has profoundly influenced my approach to art-making. It has steered my path towards a political stance, advocating fiercely for the countless women who, like myself, have been silenced by fear. This exhibition has illuminated the collective struggle of stepmothers who often feel voiceless and overlooked. Despite empathizing deeply with these emotions, I recognize the need to lead by example, to be unabashedly raw and direct in my artistic contributions to the exhibit.

Through performance art and visual expression within m OTHER, I strive to magnify the visibility of motherhood, particularly the intricate layers of mental, physical, and emotional burdens borne by stepmothers. This curatorial work informs and fuels my own artistic practice, pushing me to create pieces that resonate with honesty and impact, shedding light on the silent struggles of many.

If you should mention an artist(s) that influences your work/draws your attention, who would it be and why?

I'm captivated by artists who navigate their careers with a seemingly boundless sense of freedom despite the inevitable constraints. Their art exudes a palpable power and presence that transcends limitations, profoundly transforming those who encounter it. It's these moments of artistic transcendence that I live for.

Leah Schrager
Tracey Emin
Jenny Saville
OONA
Kara Walker
Miriam Beerman
Operator__
Khaila Batts
Sasha Stiles

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This article about Blakelee Pieroni takes part of the ARTICULATE PROMOTE Programme.