Phoebe Rathbone

Ass and Tits confronts the fetishisation of the female body by relocating it to the domestic interior, amid the mundane architecture of everyday survival. The home is revealed as the original theatre of objectification, where the female body is conscripted into invisible labour that leaves no trace. The title weaponises vulgarity to disarm prurience, indicting the gaze before it can settle. The provocation lies in rendering visible what was never intended to register as image. 

This series excavates the unseen choreography of domestic life, the materiality of care that leaves no monument. Domestic artefacts are granted the formal valour of classical still life and Neue Sachlichkeit, where body and object converse as things that do, rather than things that mean. The body appears as material fact, as thing-in-use. Like Duchamp's readymades, these gestures are recontextualised, but where the readymade suspends function, Ass and Tits retains it. The body continues to work and perform invisible labour. 

Shot in black and white on medium-format film, the series forces a collision between high and low, where film grain mirrors domestic experience: granular, accretive, enduring. The formalism intensifies rather than elevates. Ultimately, the home becomes the camera itself, recording the body as it witnesses its own labour