Maddie Jones Rodriguez
MFA Fibers and Material Studies, 2025
My sculpture utilizes second-hand materials like home fixtures, pipes and fabrics to examine how arbitrary societal standards shape both individual and collective experiences. The formal qualities of my work are guided by an interest in humor and the abject. Satire often points out underlying structures within society and illuminates capricious social hierarchies. I leverage humor’s association with bodily waste to remind us of our tangible, corporeal existence. My hope is that this typically avoided physicality can serve as a point of familiarity. With these considerations I explore plumbing as a labor-intensive construction trade that underpins modern society and connect these systems to our own internal bodily processes. Plumbing is a physical web that manages our bodily functions through the geography of society. Yet it exists almost completely as a ghost within our bodies and homes, hidden underneath layers of drywall or epidermis. If all is going to plan, we can ignore its presence. But these networks can reveal pathways that link us all. By examining these systems that connect us, I aim to destabilize the boundaries between self and other. In investigating the porosity of the body, I emphasize how barriers—whether architectural, social, or psychological—are ultimately transient and permeable.
My affinity for such common materials and reused objects comes from my personal history—my mother and stepfather work as vintage dealers, and my father is a new construction plumber. My worldview has been defined by the exchange of goods and labor, discarded objects, essential tools, and extracted value. Watching my mom and stepdad’s process of evaluating potential items for resale sparked an interest in how we derive new value from objects that would otherwise be considered “trash.” This experience has developed into the formal and conceptual starting point of my practice: that in reevaluating our relationship to waste we can shift how we relate to one another. Where Capitalism promotes independence, isolation and othering of people that are different, we can find value in this difference. Instead of only valuing humans by their productivity as measured by their contributions to labor and the economy, we can recognize one another’s intrinsic, non-extractable value.

Installation view, "Internal Plinth" 2025, "In and out/Relief or Schematic of Connection" 2025, & "Sunk" 2024

Installation view, "Mattress Painting" #1 2025 & "BackSplash" 2025

Installation view, "In and out/Relief or Schematic of Connection" 2025, "Sunk" 2024, "Mattress Painting" #1 2025

"Mattress Painting #1" 2025, 62"x55.5"x20.2", foam pad, mdf, wooden rails, paint, soy wax, The first in a new series of sculptural paintings that examine the mattress as a portrait. The foam is the canvas and our bodies the brushes and paint. What marks do I leave behind?

"Mattress Painting #1" 2025, 62"x55.5"x20.2", foam pad, mdf, wooden rails, paint, soy wax, The first in a new series of sculptural paintings that examine the mattress as a portrait. The foam is the canvas and our bodies the brushes and paint. What marks do I leave behind?

"BackSplash" 2025, 45"x45"x45", shower curtain rods, terry cloth, vinyl, latex. I want to collect all that comes out of me. The parts of me that I'd forget tomorrow have splashed onto the tiles of my bathroom and rubbed into my shower curtain.

"Internal Plinth" 2025, 70"x 45"x40", 220 towels, steel ballast. Accumulation is represented here in the excess of fabrics that hold the evidence of our leaking bodies.

"In and out/Relief or Schematic of Connection" 2025, 260"x30"x12", toilet paper. Plumbing is a physical web that connects our bodies. Here is a schematic of this network.

"Sunk" 2024, 59.5"x29.2"x19", cast iron tub. My body and all its holes.

"Sunk" 2024, 59.5"x29.2"x19", cast iron tub. My body and all its holes.

"BackSplash" 2025, 45"x45"x45", shower curtain rods, terry cloth, vinyl, latex. I want to collect all that comes out of me. The parts of me that I'd forget tomorrow have splashed onto the tiles of my bathroom and rubbed into my shower curtain. photo courtesy of artist.

"In and out/Relief or Schematic of Connection" 2025, 260"x30"x12", toilet paper. These (toilet paper pulp) casted recycled toilet, pipe and sculpted digestive tract create a map of invisible connections. The internal piping of our bodies is connected to the physical plumbing systems of society through the portal of the toilet. The title outlines the diagrammatic function of the work, which seeks to imply how we are all connected through this act and system. Casting holds the potential of materialization— bringing form to what was previously only implied. The material of toilet paper brings the typical waste and internal products back up to the surface. The paper’s fragility emphasizes purpose beyond functionality. photo courtesy of artist.

"Internal Plinth" 2025 & Mattress Painting #1 2025, photo courtesy of artist.

"Mattress Painting #1" 2025, 62"x55.5"x20.2", foam pad, mdf, wooden rails, paint, soy wax, The first in a new series of sculptural paintings that examine the mattress as a portrait. The foam and fabric stretched across a frame is the canvas and our bodies the brushes and paint. What marks do I leave behind? photo courtesy of artist.

"Sunk" 2024, 59.5"x29.2"x19", cast iron tub. My body and all its holes. photo courtesy of artist.

"Sunk" 2024, 59.5"x29.2"x19", cast iron tub. My body and all its holes. photo courtesy of artist.
Maddie Jones Rodriguez
Maddie Jones Rodriguez is an artist living and working in Philadelphia, PA. She will graduate with her MFA in fiber and material studies from Tyler School of Art & Architecture in the spring of 2025. She received her BFA in painting from Texas State University in San Marcos Texas. Her current sculptural practice explores the creation of objects that subvert function and propose new avenues of connection. Rodriguez has worked across art and community as an educator and studio assistant while building her personal practice.