Tiffanie R. DeVos

Tiffanie R. DeVos 

White Jello with Raspberry Jam (Abortion), 2015

Mixed Media, Photograph

14" x 14"

Tiffanie R. DeVos 

Cherry Filled Jello with Topping (Magazine Blow Job Tips), 2015

Mixed Media, Photograph

14" x 14"

Tiffanie R. DeVos 

Cherry Jello with Lemon (C-Section), 2015

Mixed Media, Photograph

14" x 14"

Raised in an intergenerational home has led Tiffanie R. DeVos to approach the domesticated roles built within the
‘idealized’ family. However, DeVos has witnessed the degradation of a household; from the traditional nuclear family to the digressions of a single mother, where in each aspect, gender roles were explored and then reinforced. Feminist theory has an underlining role in how her views have been explored throughout the work she has produced from 2013 to the present. Using kitsch household decor, scenes, and objects, DeVos dramatize theaesthetic that each generation of white middle class women has passed to the next. While exploring her own family archives, she studies, these gender expectations through a first hand experience. As an interdisciplinary artist, she tries to use mediums that best bring forth the underlying messages within the piece. For Example, Jello Shots (2014 - present), a series of photographs, portrays stylized portraits of jello paired with captions from scanned cookbooks. Challenging the cookbook, she questions the ways in which women have been molded through domestic etiquette provided in the text and imagery of these sources. In another work, Familiar Situations (2014), a collaborative video installation with Eliseo A. Rivera, explores the comfort alongside the idea that every family has a nostalgic structure. While viewing the installation, both artists’ home movies are on continuous play as an ethereal sound piece plays in the background. The overall experience of the work, regardless of what generation you are from, sets your mind to a comfort through reminiscence within your idea of home. Her obsession of flawed domestic propaganda and it’s clashing of feminist theory is a subject that DeVos continuously sets in all of her pieces. With this being said, many of her current influences are artist such as Lorie Simmons, Jo Ann Callis, Ed Rushca, Lorie Novack,, Do Ho Suh, Larry Sultan, Sophie Calle, Laura Letinsky, Edward Hopper, and many more. These types of influences can be seen in her most recent works such as The Day the Tree Died (2014), I’m Sorry (2015), and Impressionable, Subliminal (2015). In her future works, DeVos hopes to continue the exploration of the domestic. She also plans to dissect situations that arise through the expectations of marriage and motherhood.