Menstrual Nation, an art event held on April 15th, 2013 introduced participants to basic sewing skills in the construction of reusable menstrual products. All participants were provided with the materials necessary to create two pads, in addition to a packet which included a card detailing proper care and maintenance, a diagram of appropriate stitches, a pattern, and a list of frequently asked questions. Materials were provided free of charge in an effort to foster interest, increase accessibility, and uphold the egalitarian principles of the project. Posters and flyers were distributed within the local community and a series of fine art prints of the same design were silkscreened as promotional material for the event.
Directing my application of social and political engagement through art, Menstrual Nation further locates my practice into the realm of the public. The coalescence of creative and social motivations is critical to inciting social practice as art. This artistic praxis requires an applied cultural, political and artistic consciousness. Relational art practice directs the focus toward shaping inter-human engagements in time as opposed to a traditional intra-human object relation. This undertaking of social gathering as art is in direct response to the institutionalization and commodification of art and the contemporary art industry. There is no singular artist or good that can be purchased at market value. In Menstrual Nation, participants were asked to loan the pad they constructed during the event for display in the exhibition. These objects function as relics and are returned to the participant at the end of the gallery show.