Lamenting Leftism

Patriarchy Funds Vulgar Feminist’s Anti-Patriarchy Hair Art

Farmington artist Rosemary Meza-DesPlas sews her own hair into fabric to signal her “outrage, horror and strength” as part of “the female experience within a patriarch society.”

Her art depicts nude fat women with hairy knees and feet, screaming faces, and bleeding breasts.

Meza-DesPlas recently won a $50,000 “Latinx” fellowship from the Mellon and Ford foundations, two philanthropic organizations founded by straight White male capitalists Andrew Mellon and Henry Ford, who were also Conservative Republicans.

Upon hearing that she was selected for the fellowship, Meza-DesPlas cried. They were not tears of revulsion and disgust. She did not rip up the check and burn it on a pyre of Victoria’s Secret lingerie.

“I cried tears of joy,” she recently told The Albuquerque Journal. “I was overwhelmed.”

While most people think of “art” as being beautiful, it is not always so. Political art particularly is known for being subversive and satirical, highlighting suffering, oppression, and bravery in classist battles against evil forces. Feminist art, like feminist protests, is its own animal.

Marching Across Your Lawn, The Grass is on Fire, 2020, hand-sewn human gray hair on black twill fabric

After accomplishing the goal of legal and political equality under the first wave of feminism, the ever-unsatisfied second-, third-, and fourth-wave feminists realized they didn’t need logical demands for rightful equality to get the attention for which they are still so starved. Nudity would do the trick, and the more vulgar the better.

Modern feminist protests feature almost always-nude activists. Without irony, they decry the objectification of women while themselves using their bodies for attention. They don “pink pussy hats,” smear themselves in menstrual blood, or re-enact violent abortions where baby dolls are ripped apart and beaten. All in the name of “liberation.” From what remains unknown.

If the tables were turned and men filled the streets to expose their genitals, cover themselves in semen, and don pink penis hats in protest of being publicly shamed for what is clearly a mental illness, they would not be celebrated. They would be jailed.

Similarly, no man with equal rights by law would ever earn the recognition of a philanthropic organization for sewing his hair into fabric in protest of “the male experience within an emasculating society.”

That would be equality, which clearly does not exist.

Meza-DesPlas herself is not an ugly woman. She is neither obese nor unkempt. Her hair is not stereotypically dyed green. Her face is unblemished by the punctures of metal hoops or studs. Nonetheless, she too apparently realized that in a depraved society that values intersectionality and victimhood, beauty does not turn heads. Aesthetics in 2022 does not earn $50,000 fellowships.

Grotesque does, and Meza-DesPlas does grotesque well.

Her piece “What You Whispered, Should Be Screamed” was inspired by the 2017 #metoo movement against Hollywood sexual abuse. While it’s unclear whether Meza-DesPlas was herself sexually abused by Hollywood producers or if she’s merely capitalizing on other people’s suffering. The piece shows, as the title suggests, a woman screaming

“Yo Tambien,” another hair piece that is also titled after the Hollywood sex scandals, features a screaming woman who is either crying or bleeding from here eyes. Meza-DesPlas said the piece came to her after reading Hillary Clinton’s 2017 memoir “What Happened,” in which the would-be president blames all the usual suspects for her 2016 loss to Donald Trump, including James Comey, Mitch McConnell, Bernie Sanders, and Vladimir Putin–and of course sexism.

It is difficult to imagine one of Meza-DesPlas’ pieces hanging in someone’s house, particularly in the house of Andrew Mellon or Henry Ford. Art is more than a glimpse into the mind of the artist. It conjures emotion in the viewer, and the emotion in Meza-DesPlas’ art is dark. Beyond outrage and horror, one wonders what attributes of her art she thinks would draw people to her particular political ideology.

It’s not quite Rosie the Riveter, but then, modern feminists aren’t exactly Suffragettes.

When your only marketable contribution to society is anger, making grotesque art out of human hair is a natural medium.

If you have a torture chamber in your basement needing decoration, you can find Meza-DesPlas’ work at

What You Whispered, You Should Have Screamed

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