In Rachel Lee Hovnanian’s installation In Loco Parentis, a gigantic white mouse stands in front of an open refrigerator, stuffing his face, while a toddler sits in a high chair looking down at her iPad; mounds of Cheerios cover the floor. But there’s a twist to this: the child is a video image on a LCD tablet-like screen and the white mouse is but a video projection.
Asked about the work, which was shown recently in her solo show “Plastic Perfect” in New York, Hovnanian told the interviewer that when she was growing up in Texas, she had two pet white mice. She said, “[The albino mouse] was a very rare animal. But through technology we created all these white mice to do testing on. So for me it represents technology itself. Even if you think you can get away from technology, you can’t. …The lab mouse has total freedom; that’s why it’s eating out of the refrigerator. It’s like the white elephant in the room—it’s so big and we’re not even aware it’s there because we naturally accept it.”  And because everyone has forgotten about the mouse, being preoccupied with all their gadgets.
In Loco Parentis along with Hovnanian’s other multi-media installations Dinner for Two: Wedding Cake and New Year’s Feast: Beijing 2014—each of which also features a virtual mouse, munching away on a festive cake set in the center of a table at which sits a digitally-produced couple or a family—effectively evoke a discussion about how our gadgets have changed the way we communicate, how our obsession with them has given rise to a preference for interacting with those farthest away over those who are near, casting a chilly spell over intimacy as well as parenting.
Each of these mice in her works, though hardly alive, is ironically the liveliest element within the domestic tableaux. Thus inasmuch as the tiny fellow may be intended to represent technology—genetically engineered in the case of the lab mouse—to my mind the tiny insatiable rodent could just as easily be regarded as the age-old symbol of a ceaselessly gnawing entropy.
Today Hovnanian keeps two mice in a cage in her studio, “her sometimes-actors,” her collaborators.
 Rachel Small, “Rachel Lee Hovnanian Versus the Future,” Interview, September 3, 2014.
Additional sources: Artist’s website; Robin Peckham, “Dining Partners: Beyond Weak Ties,” New Year’s Feast Beijing 2014, Rachel Lee Hovnanian, catalogue.
(In Loco Parentis, 2014, installation with rear projection video, HD video, acrylic, Cheerios, refrigerator, high chair, metal, diamond dust; dimensions variable, reproduced for non-commercial purpose only.)