In her first solo exhibition with the gallery, Oakes occupies both galleries presenting salted paper prints along side new stretched fabric works.

The salted paper print was one of the first photographic processes invented in the early 1800’s. Eleanor Oakes subverts this traditional method by introducing her own breast milk as the salt substitute in her prints. Inserting a uniquely feminist gesture into this historic technique, Oakes draws connections between bodily labor and conceptual, process-based photography.

Constructing images of her own child along with toy blocks, Oakes creates a juxtaposition between the soft curves of the human form and the monumental constructs of modernist architecture. This suggestion of domestic structure is also reflected in Oakes' fabric works. Imagery of peeled and scraped lead paint seductively drapes across carefully pinned silk canvases. This illusion of beauty reveals itself to be nothing more than a facade as we recognize the dangers cloistered in the walls of our own homes.

These works mark the intimate performance inherent in both parenthood and domestic labor, emphasizing beauty while revealing care as the necessary building block to meaningful connection between each other and our environment.