The bathtub is not only a container for the sprinkles, but also a container for my body bathing in 40 gallons of rainbow sprinkles, which was filmed, and then projected. This large- scale video runs for the duration of 14 minutes on continuous loop to symbolize the repetition of the every day, the continual cycle of desire and fulfillment within consumerism, religion and sexuality. 

Each frame is intentionally enlarged to only reveal fragments of my body, and thus appear digitally manipulated or collaged. The repetitive motion of digging my hands through the sprinkles, mimic the waves of an ocean. This sound is relaxing, meditative, and mesmerizing. Although the motion of sprinkles, reflect the sound of nature, in reality, the sound is artificially made, referencing only an image of water. In addition to the resonating echoes of water, abrupt sounds of chewing, spitting, lip smacking, gargling and slapping bring the viewer back to reality, in an attempt to disrupt the idealized image. This duality of seductive and grotesque create a balance of unsettling tension for the viewer.

By reverting back to a childlike innocence of carefree happiness, I immerse myself in our sentimental culture while bathing in rainbow sprinkles. Simultaneously, I desire to cleanse myself from such artificiality. I continue to search for my identity as I inevitably drown myself in my own image of femininity, guilt, and self-worship within the present. While searching for contentment and fulfillment, I am left empty and stained as I reflect upon the unsubstantial value of an idealistic image. Too much sugar makes one sick.

The viewer must look inside the opening of the vent in order to view a small video projection. The video is a short two and half minute looping depiction of my hands massaging shags of flesh colored carpet. As I slowly pour water and sprinkles, my hands and carpet are stained purple. The act of looking inward and downward, is a metaphor for looking beneath the surface of an image, an attempt at self reflection in which the stains point to a dirtier reality, hidden within the outer image of cleanliness and idealized perfection.