Blakelee Pieroni reclaims the pin-up girl through digital activism and live performance

Blakelee Pieroni makes statements. From hypersexualized digital collectibles to immersive, politically charged performances, her work occupies a space where technology, feminism, and activism collide. Her project “Meta Betties” reimagines the 1940s pin-up girl, using provocative imagery to subvert objectification and strengthen conversations about gender, autonomy, and power. Meanwhile, her “m OTHER” project, now in its third year, sheds light on the hidden struggles of stepmothers, offering a platform for their voices.

This past December, Pieroni premiered “Red Meat” at Art Basel Miami, delivering a visceral performance about the fragility of women’s rights and the urgent need to protect them. As she continues her residency at Canvas 3.0, Pieroni pushes boundaries with her upcoming token-gated performances and plans for a documentary series expanding the “m OTHER” project. We spoke with Pieroni about her recent work at Art Basel and her plans for this year.

The Making of “Red Meat”: A Performance of Urgency

The premiere of “Red Meat” addressed the urgent need to protect women’s rights through performance art. Can you share how this piece came together and what you hope people took away from its debut at “Satellite Art Show” during Art Basel in Miami Beach in December?

Blakelee Pieroni: The days leading up to the election felt weighted with an almost tangible pressure—an atmosphere thick with static and anxiety. I found myself constantly watching the ground beneath my feet as I walked, feeling the weight of what was to come. However, when I step into my gallery, I adopt an alter ego—a persona fueled by rage and resilience. It’s a transformation where my frustrations ignite into a wildfire—a force too raw and urgent to extinguish. This energy became the driving force behind “Red Meat.”

Meta Betties Collective (performers): Blakelee Pieroni (cofounder), Molly Williams, Chelen Middlebrook, Karely Wasaff, Christina Torres, Celia Torrey, Alina. Julian Lazaro (photographer).

In my work, I rely on symbolic traits to convey my perspective on the political climate, and red meat emerged as a key metaphor. While red meat has traditionally been used in politics to symbolize provocative rhetoric designed to energize a political base by appealing to their core emotions and priorities, in my piece, it symbolizes the commodification of women’s bodies, autonomy, and rights—something we are told to exploit and discard without regard. The challenge, then, was bringing this image out of the digital collection and onto the physical stage.

The collective stuffed red meat into a voting ballot box, a grim commentary on the value—or lack thereof—placed on women’s voices in shaping our democracy. Another key moment in the piece featured a Bettie on all fours, delivering a monologue of stark statistics about women’s rights while being flogged. This act juxtaposed the power of her words with the spectacle of her submission, forcing the audience to confront how much more society pays attention to women when sex or subjugation is involved.

Simultaneously, I incorporated several domestic elements into the piece. These included sweeping clothes cut off a Bettie inside a 5×5 square of red tape, a Bettie spending the duration of the performance covering her body in red tape, and the striking visual of all the women in the piece sitting at a table to share a bite of red meat before placing it into the voting ballot box—all set to the backdrop of “Girls Just Want to Have Fun.”

While “Meta Betties” is known for hosting list-gated performance art in its NYC gallery, presenting this piece in an environment like “Satellite Art Show” at Art Basel was transformative. The setting provided the platform I needed as an artist to reach an audience that genuinely cared—people who stood, watched, felt, and responded. 

Through “Red Meat,” I hoped to provoke a sense of urgency in the audience—to make them question how we hear, value, and act on women’s voices. It was about pushing boundaries, sparking discomfort, and ensuring the conversation doesn’t end when the performance does. My aim was not only to highlight the fragility of autonomy but to demand its protection in a world increasingly intent on eroding it.

Reclaiming the Pin-Up Girl in the Digital Age

“Meta Betties” reimagines the pin-up girl as a social experiment, blending hypersexual visuals with sharp commentary on gender and identity. How do you see this project pushing conversations about women’s representation today, and what kind of reactions has it generated so far?

Pieroni: “Meta Betties” pushes conversations about women’s representation by reclaiming and redefining the image of the pin-up girl in a way that forces viewers to confront their own perceptions. Historically, pin-up girls have embodied a paradox—they were symbols of empowerment during the 1940s, yet they also reinforced the objectification of women by reducing them to passive, sexualized subjects for the male gaze. Their playful poses and naïve expressions framed their sexuality as something accidental, reinforcing a societal narrative that kept women in limited roles.

By bringing this image into the Web3 space—one dominated by male users and often lacking nuanced cultural commentary—I aimed to disrupt the status quo. “Meta Betties” challenges the viewer to consider why they’re drawn to these visuals. Is it the hypersexual imagery, the nostalgia, or the sharp social critique embedded within? Each Bettie not only embodies these questions but also amplifies conversations about gender, autonomy, and the intersection of technology and identity.

The reactions to “Meta Betties” have been complex. Within my gallery walls, I’ve received overwhelming support from a community that takes the time to engage deeply with the project. They recognize that the hypersexual visuals are not a concession to objectification but a tool to subvert it. Outside of this space, however, the initial response is often apprehension or even criticism. Some viewers interpret the project as perpetuating the very objectification it critiques, but I see this as part of the process. Forcing that discomfort is essential to shifting perspectives.

This duality—of immediate criticism followed by deeper understanding—reflects a broader truth about feminist art. Progress often begins with resistance. Through “Meta Betties,” I’m creating a space where these layered conversations can unfold, ultimately demanding that we reconsider how women are represented, perceived, and valued, both in art and in society.

How do you see digital art and blockchain continuing to transform how artists engage audiences in real-world social and legislative change?

Pieroni: One of the most transformative aspects of blockchain technology, particularly in the context of digital art, is the freedom it provides for self-expression without the constraints of traditional identity. In a decentralized environment, there’s potential to eliminate societal, gender, political, religious, and generational expectations, allowing individuals to speak, act, vote, and participate in ways that align with their true beliefs.

“Meta Betties” has deep roots in digital activism, and one of the ways the collection challenges norms is by using erotic art as a form of activism. This approach speaks volumes about how the world works—where sexuality, identity, and power intersect. By embracing and reclaiming eroticism, we highlight societal contradictions and question why certain narratives are so deeply ingrained.

Through “Meta Betties,” I provide my community with tangible ways to participate in activism digitally. This includes trustworthy resources, advocacy campaigns, timely petitions, and innovative models for creating change through our action center. My fashion tech incorporates NFC chips that reward holders when they take action or when others participate through their chipped merch. Additionally, our art is tied to a smart contract that donates a percentage of the mint to nonprofit organizations via The Giving Block, directly linking art to social impact.

Each piece within the “Meta Betties” collection is more than just a digital asset; it represents a persona tied to specific issues—politics, reproductive rights, equality, education, religion, etc. This allows the holder to own art that aligns with their passions and beliefs, offering a deeper connection to the work compared to traditional NFTs, which are often randomly generated. This model empowers collectors to actively participate in the conversation and in driving real-world change, both socially and legislatively.

Expanding Narratives: The “m OTHER” Project and Beyond

In your “m OTHER” project and the subsequent documentary, you discuss the missing sisterhood, the stigma stepmothers face, and the challenge of filling the shadows of expectations. Through creating this project, what surprised or resonated with you most about the experiences of stepmothers, and how have audiences—particularly stepmothers—responded to this nuanced portrayal?

Pieroni: The biggest revelation from both the annual exhibit and the documentary has been that many stepmothers are hesitant to come forward due to the fear of legal consequences. While society often focuses on the emotional and relational impacts on stepmothers, the looming threat of legal action is a very real and overlooked factor for many. What I’ve realized is that my project offers a unique way to address this long-standing oppression. By allowing stepmothers to create art without the need to show their face or name, I’m providing a safe space for them to express their experiences and reclaim their narratives.

As more stepmothers share their visual work, it’s becoming clear that there is a shared emotional resonance within this community. Though it may be quiet now, I see the potential for a revolution within the “m OTHER” Project. There’s a growing stack of data revealing just how many stepmothers connect with the same feelings and struggles. I’m eager to lead this movement forward and excited about what will transpire.

What are you currently working on, and where do you see your practice heading next?

Pieroni: I’m continuing my residency at Canvas 3.0 at the NYC World Trade Center through 2025 while preparing for the launch of “Meta Betties” this January. Following the launch, the “Meta Betties” performances will be token-gated, making the performance art exclusive to our community.

Additionally, I’m preparing for the third year of the “m OTHER” exhibit, which highlights stepmom artists. In the coming year, I plan to extend the project by incorporating more stepmothers’ voices through a documentary series.

Featured image: Blakelee Pieroni. Photo courtesy of Julian Lazaro.