on the cover w
ith a fifty-dollar wedding dress, a camera, a loaded question and a hand to be held, New York-based Mexican photographer and visual artist MarĂa Sprowls situates her work in re-signifying social and cultural conventions. Interjecting her own concept of femininity into urban landscapes and portraitures, Sprowls’ project I Do decontextualizes the uniform nature of the wedding gown, leaving a memento for each man whom accepts her hand in performative matrimony. I Do obfuscates our perception of the wedding gown, mass-producing the promises we infuse into the garment, and, more importantly, reinforces agency, as Sprowls asserts she belongs to neither the man nor the dress.
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