My artistic practice explores the odd and the curious, constructing an intricate, illustrative narrative world known as Mischief Manor. Bridging the gap between the conscious and the subconscious, this universe examines how hierarchical systems of power disguise violence beneath a veneer of innocence. I utilize childlike imagery and unsettling narratives to expose the tense friction between play and systemic cruelty.
As a research-based artist, my work is deeply informed by the history of child labor within the Chicago Union Stockyards. I craft meticulous scenes of children wearing domesticated animal masks who commit disturbing acts—a direct commentary on society’s normalization of political and systemic abuse. By rendering stripped anatomical entities and raw meat devoid of blood, I invite the viewer to walk the fine line between psychological horror and nostalgia. The integration of vintage toys and familiar stuffed animals triggers a sense of cognitive dissonance, prompting the audience to question whether these narrative worlds are truly menacing or merely a fantasy.
Working primarily with graphite, ink, conté crayon, and drypoint, I create highly detailed, black-and-white works on paper in various scales. I treat each of my series as a book, where individual drawings serve as chapters bound by crisp white borders and paired with single-sentence captions that invite the viewer into an unfolding story. My dense cross-hatching techniques and formal compositions mimic the aesthetics of Victorian portraiture and vintage children’s books. By pairing this nostalgic, joyful aesthetic with unsettling subjects, I challenge the viewer to find the artwork visually seductive while experiencing an underlying undercurrent of fear and discomfort.
-Dalila Mendez
