Exhibits & Installations

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Screenshots of the Struggle

Medium: Digital prints on canvas (screen stills from short films)

Dimensions: 8” x 16” (multiple works)

Year: 2025

Title: “Aching Void”

Medium: Digital print on canvas (PRINTED)

Dimension: 8” x 16”

Year: 2025

Description:

Screenshot from “Letters to Heal a Broken Heart” (2022) (00:04:30)

“I can’t sleep. My tears are like bloodstains on the sheets. 

I feel the emptiness inside me, an aching void.”

Title: “Allison versus The Hoard”

Medium: Digital print on canvas (PRINTED)

Dimensions: 8” x 16”

Year: 2025

Description:

Screenshot from “Trauma Hoarder, Part 1” (2024) (00:29:14)

“I often stumble and get stuck, because the reasons for my actions defy logic. They’re emotional and subconscious… 

I feel defeated.”

Artist Statement for Screenshots of the Struggle:

This is a collection of screenshots from my short films dating back to 2018 and up to the present. These scenes are related to struggles with mental health (depression, anxiety, or hoarding), experiences of intense shame, or attempts to overcome and heal.

Shame is imposed externally, then reinforced internally. It thrives in the darkness. We must put a spotlight on the shame, to expose it as the liar that it is. 

A Miniature Monstrous Mess

Medium: Staged articulated figures, doll clothes, furniture, and accessories

Year: 2024

Exhibition in a gallery with white walls. Small items sit on top of 4 plinths in the room.
“A Miniature Monstrous Mess” at aceart gallery in November 2024
Allison Stevens stands with her sister Crystal. A film is projected behind them. Plinths with scenes constructed from doll accessories are in the foreground.
Allison with her sister Crystal
A film projects on a wall, showing Allison crying while her sister Crystal comforts her. In the foreground, there is a pile of miniature items on a plinth.
Snapshot from the film “Trauma Hoarder, Part 1”
Two monster dolls stand in the fore ground, dressed in clothes. Frankenstein listens, with his hand on The Creature from the Black Lagoon's arm. In the background, a film is projected on the wall with two people having a conversation.
Compassionate Help
A messy bedroom made from doll clothes, accessories, and furniture. There is a bed completely covered in clothing, stuffed toys, jewellery, a dresser, stand-up mirror, and chair.
Bedroom from Childhood
A messy office made from doll accessories. There are two computer monitors, an office chair, an easel and some art supplies on the floor, a film project and printer on top of a book case, different kinds of video and film cameras, some books on the floor, a broken record player, and other items strewn about.
Office
A messy kitchen made from doll accessories.
Kitchen
Close-up of the face of the Bride of Frankenstein doll as she looks at a cell phone in her hand.
Distraction from Reality
Close up of a messy living room. A doll is on the couch looking at her phone. One dog sits in her late and another dog is in a bed on the floor. They are both watching her.
Doggies

Artist Statement for A Miniature Monstrous Mess:

I use my hoard of miniature items to construct a miniature representation of my hoarded house. The small scale allows me to capture the magnitude of the problem.

The main rooms of my house are present, including the living room, dining room, bathroom, kitchen, office, and bedroom. Very specific details represent my life, such as my dogs and cat, a film projector and camera equipment, my favourite childhood stuffed bunny, an abundance of storage containers for sorting my stuff, and clothing strewn about everywhere. Although the scenes seem chaotic and overwhelming at first, things are actually intently placed. This is my home, despite being a hoard.

I feel a connection to monster figures, as misunderstood outsiders who are feared and rejected by mainstream society, because of their naturally weird and unique characteristics. As I heal, I am deconstructing my internal brokenness and starting to embrace a healthy sense of self. I see myself less like a grotesque beast who lives in the shadows, and more like a cheesy, low-budget creature who is just longing for love and acceptance… and who is also very hungry, but unfortunately has to eat humans, because that’s what creatures eat.

Cycles of Production

Medium: Staged articulated figures, doll clothes, furniture, and accessories

Year: 2020

At the end of a dark tunnel, The Bride of Frankenstein doll sits at a computer screen.
Three male monster dolls stand hovering over a woman monster doll, who is seated at a computer desk.
The Bride of Frankenstein doll is seated, surrounded by flames.
The Bride of Frankenstein doll is eating junk food.

Artist Statement for Cycles of Production:

These snapshots represent the interconnections between work, patriarchy, mental health, and consumption. The photos are of 9″ – 12″ articulated monster figures posed in different scenes. The requirement of working in alienated workplaces, constrained by patriarchy, leads to flares of despair, which leads to consumption of substances that will provide a temporary relief, which must be paid for with work.

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