This exhibition was constructed from found images and objects that Waldman collected and embellished. Known for her claustrophobic compositions of paraphernalia which reveal her interest in the notions of taste, consumerism, excess and kitsch, Shrines revelled in being excessive and playfully tasteless yet skilful. Waldman draw much inspiration from being the owner of her self-created fashion label.
The works, liminal objects presented as shrines, mark the boundary between the secular and spiritual world. The textured and tactile material con- structions were pinned, threaded and glued into a series of deep-set box frames. These frames, which have an opulent effect evoked the recep- tive mode of the Victorian curiosity cabinet, whose contents are made an object of fascination.
The media that constitute the pieces were haberdasheries, thread, and pieces of tapestry, sequins, hairbrush ends, hair, false nails and pins and materials that evoke bodily matter.
In couching these mundane items in such a manner, these odds and ends of predominantly female labour are revered and preserved as sacred mementos. The works were further complicated by the resemblance of the tapestry squares to pixilated digital imagery.
Playing with a variety of boundaries in her work: the secular and the profane, public patriarchal structures and female domestic labour, as well as the laboured craft versus fine art binary, Waldman prods at notions of good taste by engaging in a visceral manner yet also overpowers with excessiveness.