genus neotoma
Yelena’s installation, Genus Neotoma, brings the metaphor of the packrat vividly to life, transforming an act of hoarding into a ceremonial landscape that interrogates strength, fragility, and survival. The central photograph, an ambiguous portrait of Yelena biting her little finger, positions vulnerability and self-reflection at the heart of the work. This gesture can be read as both seductive and self-defensive, blurring the boundaries between allure and repulsion and challenging viewers to confront their own reactions to intimacy, resilience, and dependence. The horizontal placement of the portrait suggests a lowering or grounding of the self, placing Yelena within reach of the objects surrounding her—a symbolic embrace of both treasured and discarded elements that make up the fabric of her world. The installation’s objects, displayed on translucent discs as though suspended in mid-air or preserved in memory, further reflect Yelena’s intent to create a “playground” of cultural detritus and personal artifacts. The pair of men’s sneakers enshrined by a row of candles recalls a sacred altar, suggesting a ritualization of the discarded or abject. Positioned as a holy object, the sneakers—stained in puke and repellent—subvert traditional symbols of purity and reverence, instead honoring lived, messy experience. The jar of milk and ceremonial breads echo this theme, blending nourishment and ritual in a way that honors the interconnectedness of survival, culture, and consumption. Through Genus Neotoma, Yelena invites a reconsideration of strength and value through the lens of feminist and crip theory. Her installation reclaims dependency, adaptability, and care as essential forces in shaping identity and resilience. By creating a space that celebrates vulnerability and discarded objects, Yelena challenges societal norms that privilege independence, instead advocating for a shared, complex ecosystem of survival, where both strength and fragility are inextricable.
