BARBIE gone wild

Scenes that many of us have always wanted to see or act out with the Barbie of our sisters and little girlfriends.

Mariel Clayton realizes this desire for us and has talent to spare.

“I don’t generally like to be all moralistic and preachy, there’s enough people out there who get off on the sound of their own voice.

But every now and then some things I notice just need to be processed in a different way.”


This is what she said about her work.



“Children aren’t
challenged enough.
Give them harder
words to spell.”


“I can’t explain how my mind works, or why these ideas come to it.

It started out with a camera and a major interest in travel photography,

but a sublime encounter in a Tokyo toy shop led me into the surreal world of Japanese miniatures,

and ultimately to the stories that could be told with them.

Since I started working with dolls, I have grown more and more to appreciate what
can be done with them, how the smallest gesture or placement seems to convey volumes.

Also, I happen to think it’s a damn funny medium.

I’m entirely self-taught in photography.”


Her works are not only critical to humanity,

She turns Barbie also in the most famous paitings.


Mariel Clayton, after Vermeer’s The Milkmaid from c. 1660

Mariel Clayton, after Vermeer’s Girl with a pearl Earring from c. 1665

Mariel Clayton, after David’s Death of Marat from 1793

Mariel Clayton, after Whistler’s The Artist Mother (also called “Whistler’s Mother”) from 1871


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