The Goddess, the Housewife, and the Ruins gathers Honey Jaeger’s Winter 2026 works into a single mythic landscape… one where domesticity, desire, spiritual rebellion, and environmental collapse converge in surreal, unexpected ways. These pieces follow women through kitchens, deserts, cathedrals, bedrooms, and landscapes carved by both nature and history, revealing the quiet revolutions unfolding in each of them.

Honey’s world is one where crystal-encrusted goddesses rise from velvet-lined earth, where televisions broadcast graveyards into the heads of human bodies, and where flowers erupt defiantly from places meant to remain modest. It is a world where a woman can be an altar, a warning, a joke, a myth, or a weapon… sometimes all in the same moment.
Here, metamorphosis is not a metaphor; it is a lived, bodily truth.

Against these mythic terrains, Honey places the American housewife (smiling, sweeping, serving, coping), the figure who has long carried the emotional labor of a culture that never acknowledged her complexity. These domestic interiors become stages where violence is tidied away, kink becomes confession or ritual, and comfort food is served against the backdrop of literal war. Honey exposes the absurdity of the “perfect home” by allowing its cracks to bloom, bleed, and laugh back at us.

And through it all lie the ruins: war-torn fields, barren deserts, emotional debris, the decaying architecture of purity culture, the inherited grief of religious doctrine, the landscapes we damage and the ones that damage us. Honey does not mourn these ruins; she grows inside them. She insists that myth-making is a tool of survival… that to rewrite the story of the feminine is to reclaim power from its most constricting histories.

Across this collection, the feminine figure becomes myth-maker, altar, witness, and creature of transformation. She is watched by cameras, shaped by deserts, haunted by screens, nourished by oceans, and resurrected by her own hands. In these strange times, with the world burning outside the window and the rituals of daily life carrying on inside, Honey’s women choose to become something new.

These works form a living gospel of becoming:
a story of women who refuse to remain what the world made of them,
who bloom in desolation,
who reclaim submission as power,
who laugh in the face of ruin,
and who write themselves into legend.