The concept of ‘scary suburbia’ has permeated the horror genre for years throughout art, film, photography, and urban legends. Partly this is because many social issues were occurring during the mid-century when ‘classic’ suburbia was at its prime. Problems such as sexism, racism, poor mental health, financial instability, and the looming threat of war were all rife, which led to increased societal anxiety.
The suburbs can be seen as an almost liminal space, not quite in the city but not in the countryside either, and the quiet routine leaves space for our minds to wonder what goes on behind closed doors; what lurks beneath the surface. I find that the most successful horror stories are those in which the evil entity is unseen, as there is something unsettling about what you don’t know. The suburbs are also a space that most would find familiar, and so depictions of the suburbs in media often carry an uncanny quality, and one that can be successfully utilised to create a soft sense of unease.
I chose to represent this through miniatures because I am fascinated by creatives who used dollhouses to showcase evil. The contrast between the small and delicate size and the horror being presented enhances the discomfort we feel while viewing them. Similarly, miniatures are an effective way of creating ‘uncanny’ horror, as we are familiar with the scene but it’s too small; something feels wrong and makes us uncomfortable.
Exploring and showcasing the dark undercurrents of traditional mid-century suburbia through the medium of a miniature set.