Alli Elisabet Palmieri

is an interdisciplinary artist, designer, writer and self proclaimed rainbow based in Naarm{Melbourne}.

(hello ︎︎︎)

(selected works ︎︎︎)

Bod{ily} (Artwork)
Ornament and Grime (Artwork) Hygiene is the Religion of Fascism (Artwork)
Orange (Artwork)
Decor{um} ~ Distorted Bod (Artwork) Train, Tile, Chair Zine (Publication) Ador{e}nment, Caliper Journal (Publication)
XXX Toys (Artwork)
Moist  (Spatial Design)
Bod  (Artwork)
Em{bod}ied Wallpaper (Artwork)
You F?#~ing F%&k  (Publication)
Em{bod}ied Flora  (Jewellery Design)

Flirting & Queering
& Dancing Seriously
Frivolously Glitter
Everywhere Ooey
Gooey Ass Cheeks
On the Wall Licky
Licky Furry Hole

(© Alli Elisabet Palmieri 2020) 

Ornament and Grime

Body hair resin tiles, ceramic tile and grout on acrylic // 2019 

A play on words fusing a challenging of Loo’s modernist polemic ‘Ornament and Crime’ with the visions of abject art. The white ceramic tile, a customary element of Architecture, is used here as a symbolic gesture reflecting ideals of cleanliness, purity and patrolling.

“As such, these tiled, hygienic surfaces paved the way for a sensory reductionism that foreclosed on the potential for decorative excess in this modern space of hygiene” ~’Queeing the Interior’, Matt Cook and Andrew Gorman Murray.

The objective here is to break down the limitations and conceptions surrounding body hair, particularity in relation to ones gender, sexuality or race. There is a white, heteronormative patrolling of body hair, which seems to dictate what is palatable in society. There are norms and expectations of what is accepted and deemed desirable, projected onto individuals, dictating how they should behave and groom themselves. This construction is highlighted with the intention of destigmatising body hair. By placing all kinds of body hair from all kinds of people onto an unlabelled platform, we can see that hair is just hair, each is unique, however, theoretically is no different.

Ornament and Grime delves into the domain of the abject. The abject transgresses borders of respectability, allowing for a discourse on matters deemed to be taboo. Body hair baggies draws from Mary Douglas’s argument that ‘nothing in itself is dirty; rather, dirt is that which is not in its proper place and upsets order’. Ornament and Grime is a defiance of the established order of what is proper and respectable.

Ornament and Grime critiques the tile through side by side positioning of resin tiles filled with body hair, addressing the heteropatriarchial dictation of palatable grooming norms. The other {body hair} flirts with the centre {the tile}.

This work addresses and challenges conservative habits and norms which are often reinforced and shaped through architectural practices. Articulated through the method and symbolism of tiling and bodily motifs, I discuss the exclusion of the ‘other’ from the centre.

Our bodies are constantly inhabiting a space, whether it be interior, exterior or other. We imprint ourselves on our surrounding and vice versa. A majority of these spaces do not account for those who do not comply with the heteropatriarchial prescribed norm. Architecture, art and design often display a prejudice against practices deemed as‘feminine’, e.g. decoration and ornament.

By utilising craft techniques and making, this work moves into the realm of the decorative, the excessive, and the non functional; paying homage to womens work, as well as kitsch and camp sensibilities. With this work, I probe how Architecture may be used to enable its occupants to begin to challenge heteropatriarchial paradigms, and encourage a resistance and queering of norms.