In the 2015 series captured on an iPhone 4, Katie curated a powerful symbolic ensemble that included a Lazaro cocktail-length wedding dress, Stuart Weitzman wedding shoes, Fiorentini Baker boots, a double strand of faux pearls and white gloves that belonged to her grandmother, MeeMaw, an Israeli gas mask, and a shotgun.

Set against the backdrop of an old rental house in Austin, Texas, originally built in 1947 as affordable housing for marginalized communities, this series contrasts luxury with poverty and freedom with entrapment. The house, once a beacon of hope, had deteriorated into the all too familiar symbol of neglect and exclusion reflecting the ignorance, denial and often hate that fuel injustice and corruption.

The central figure, dressed for a party that no longer exists, grapples with survival amidst the remnants of shattered reality, surrounded by debris and a dilapidated home, she clings to the remnants of past indulgences while confronting the harsh necessities- to exist, to breathe and to defend these rights.

This poignant portrayal encapsulates the fragility of human aspirations, highlighting the stark realities of privilege and struggle, deeply intertwined with the legacy of oppression and gentrification, the resilience required to endure adversity while acting as a warning to those who insulate themselves in posh comforts while turning a blind eye to the struggles others face daily thinking they are immune and not directly impacted only to wake up one day “All Dressed Up With Nowhere Left To Go”.