Feminist Artist Provokes Audiences To Think About Ownership Of Bodies In A Capitalist World, In New Exhibition “Objectified”

Do we own the objects in our homes—or do they own us? What happens when women’s bodies are reduced to function, decoration, or disposability? And how can we reconcile the concept of ownership – of our bodies, our lives, and even possessions – in a hyper-capitalist world?

New York-based acclaimed feminist artist Trina Merry is asking these confronting questions through her latest work, a feminist body paint performance that explores the tension between beauty, function, and invisibility. Titled ‘Objectified’, she painted three women into domestic furniture, transforming their bodies into objects within a living room tableau. The stillness, extended public gaze, and camouflaged blending provokes questions and thoughts about how women are aestheticized, silenced, and erased within everyday spaces.

Set against a backdrop of rising economic pressure and societal burnout, ‘Objectified’ becomes a meditation on bodily autonomy, gendered labor, and cultural visibility. As audience members peered into the gallery from the street and moved around the installation inside, they confronted the blurred boundaries between subject and object—what we consume, preserve, or discard.

Trina’s work was part of a month-long residency at the Time To Be Happy Gallery in The Bowery, NYC, which culminated in a free closing reception event on May 29 with a group exhibition called Reimagining Function, featuring 23 artists transforming everyday objects and beings through experimental approaches to form and meaning. 

“We’re all fighting to own things—furniture, homes, even groceries—but are these things really worth the battle? Or are they the ones owning us?” said Trina about the message behind her work, ahead of the group exhibition, adding that the show is about so much more than the female nude.

“It’s about what (and who) gets to be functional, visible, or disposable in our society.”

This work is part of Trina’s ongoing ‘Objectified’ series, which has garnered over 28 million views across various digital platforms including Youtube.

We love how Trina’s work is pushing us to also think deeper about bodily autonomy and freedom, and admire the way art is often the most powerful vehicle for change in society. After the May 29th reception, we had the chance to ask her more about ‘Objectified’ and the impression she hopes to leave with viewers and the passers-by who gazed at her work.

Can you first give us an overview of what ‘Objectified’ is, and the main theme or message behind it?

‘Objectified’ is a feminist bodypaint performance where I camouflaged three women into domestic furniture—turning their bodies into functional decor. It’s a meditation on bodily autonomy, beauty, and erasure in our hyper-capitalist world. The piece asks: Do we own objects, or do they own us? Who is allowed to be seen?

Why is the theme of bodily autonomy important to you personally, and how did that play a role in the creation of this performance?

Since moving to Dallas during the pandemic, I’ve felt a growing fear around reproductive rights. The reversal of protections for women’s healthcare deeply impacted me. I don’t feel safe becoming pregnant in a state that doesn’t prioritize women’s lives. That fear has shaped my personal relationships and my decision not to have children—and it underpins this work.

You’re presenting a form of objectification that’s less overtly sexual and more functional—bodies as furniture. What questions were you hoping to provoke?

We’re in a moment where women’s bodies are again being commodified and controlled—subtly and overtly. I wanted to challenge the idea that objectification is only about sexuality. What about when we’re reduced to function, convenience, or property (again)? I wanted the audience to reflect on how these quiet forms of control still shape our lives.

“We cannot control how others perceive us, but we can choose how to present ourselves, and what to do with our bodies… I loved being part of Trina’s Objectified series, taking that idea of objectification, and turning it into an interactive piece of living art.”

— Jessica Mellow, performer

Patriarchal control feels like the ‘silent villain’ in your aesthetic. Why is this message still urgent in 2025?

We are at a cultural tipping point. There’s a real risk that, without conscious resistance, we will continue to see women—especially as we age—silenced and erased. The message may not be loud, but its impact is deeply embedded in our systems.

Can you tell us about the recent performance in NYC, and the reaction from attendees?

The May 29 performance was part of my residency at Time To Be Happy Gallery. Over 400 people came through the space, with hundreds more lingering outside throughout the night. It was the most packed I’ve seen the gallery. People stayed—watching in total stillness or engaged conversation. Many told me it was the most resonant performance they’d seen in years. There was beauty, discomfort, stillness, and relevance all woven into one living, breathing sculpture.

How do audiences interact with the performance?

They slow down. They stare. They whisper. Some stay for minutes, others for hours. There’s an intimacy that develops in the room—it becomes a shared space of reflection and disruption. I saw people cry, take selfies, call friends to come, and stand in silence. It’s not passive art—it demands presence.

What do you want people to think about in terms of ownership when they view ‘Objectified’?

Ownership—of bodies, of homes, of labor—is one of capitalism’s most deceptive illusions. We think we’re in control, but many of us are trapped in cycles of debt, control, and consumption. I want viewers to ask: what does it mean to truly possess something?

What is the role of beauty in your performance? Has your personal relationship with beauty informed this piece?

Beauty is a double-edged sword. I’m drawn to it, but I also critique it. I paint people I find genuinely beautiful—not in a filtered, idealized way, but because of their presence, spirit, and strength. Even the most conventionally beautiful people I paint carry both shadow and radiance. I’m not interested in perfection—I’m interested in the layers beneath the surface.

What role does stillness play in your feminist bodypaint work?

Stillness is power. In a world of overstimulation and noise, stillness becomes radical. When a woman is still—when she refuses to perform, to entertain, to speak—people project onto her. That’s where the real performance begins. In Objectified, stillness magnifies presence. It forces the audience to sit with their discomfort and reflect.

As an artist, what role do you believe art plays in democracy?

Art is both a mirror and a warning. It shows us who we are and who we might become. It’s also where truth can slip through the cracks of propaganda. I don’t know if we’re living in a true democracy anymore—but I do believe artists are essential witnesses. We document what’s happening. We offer alternatives. We ask better questions.

You can see more of Trina Merry’s work on her website, follow her on Instagram, TikTok and Facebook. Subscribe to her Youtube Channel