Darmody’s work is heavily enveloped in the past and in the lived experience. This work is a personal response to her Christian upbringing and while the table is a potent representation of communion, family and discussion, Darmody creates tension through acts of vandalism, displacement and fabricated dysfunction. Turning Tables takes the form of a kitsch representation of a universal and historical figure, who cannot be verified, Jesus Christ.
This installation represents a juncture in Darmody’s personal identity, where she has shed a part of her upbringing, which she never truly connected with. Darmody hopes to open new dialogues about the subscription to beliefs and superstitions and the validity of each variant.