Hysteria: An Exploration of Invisible Pain.

Leah Austin
Hysteria
2025
Steel tubing, thermoplastic, acrylic
funded by The University of Texas, Austin

Pain is often invisible, but what if it could be seen, touched, even shaped? This question drove Leah Austin’s Hysteria from an abstract representation of illness to a raw material exploration of pain itself. Initially conceived as a way to raise awareness about endometriosis, the project evolved as Leah discovered how physical manipulation—heat, pressure, force—could transform plastic into something that visually and tactilely embodied suffering. The result was an interactive sculpture that invites audiences to engage directly, leaving their own marks and reflections on its surface. More than just an installation, Hysteria became a communal act of recognition, giving form to experiences that are too often dismissed or unseen.

I. Research, Inspiration & Planning

For Leah Austin, Hysteria began as an exploration of personal experience—her journey with endometriosis and the broader struggle of living with an invisible illness. Initially conceived as a sculpture to raise awareness about endometriosis, the project evolved into something much larger: an interactive sculptural installation addressing misconceptions about all invisible illnesses.

“I wanted to create something more inclusive—something that could resonate with a broader audience,” Austin explains.

Her research phase was deeply collaborative. She engaged in conversations with peers, mentors, and advisors, refining the project through different perspectives. The material choice was pivotal in shaping the final design. Inspired by Mark Meier’s Acrylic Figure Sculpture and Rachel Feinstein’s Metal Storm, Austin explored clear materials and digital fabrication techniques. Acrylic, with its ability to reflect and distort light, became a metaphor for the unseen struggles of those living with chronic conditions.

II. Pre-Production, Rehearsals & Building

As with any ambitious creative project, Hysteria faced significant challenges—particularly in fabrication. From unexpected delays in material shipments to the complexities of working with thermoplastic, steel, and wire, Austin had to adapt her approach continuously.

“Everything took longer than expected,” she recalls. “Staying adaptable and creating more realistic timelines helped me honor my vision for the project.”

Unlike traditional scenic design, which can often be fully realized in digital models before fabrication, Hysteria demanded an iterative, hands-on process. The properties of plastic—how it bent, reacted to pressure, and reflected light—could not be entirely predicted in a rendering. This meant allowing the material itself to inform the final design.

Collaboration played a crucial role in overcoming these challenges. Austin credits her team of skilled fabricators and advisors for bringing the vision to life. Their expertise enabled her to push the boundaries of her design while ensuring structural integrity and interactivity.

III. Production & Audience Response

Hysteria debuted at the 32nd annual Women’s and Gender Studies Graduate Student Conference, marking its first public activation. For Austin, seeing the audience interact with the sculpture was both nerve-wracking and exhilarating.

“I was excited to see that viewers didn’t follow the prompt exactly, but instead found their own ways to connect with the sculpture,” she says. “One particularly beautiful moment was when participants realized they could see their own reflection in the plastic as they wrote on it—blending a written reflection with a literal one.”

The sculpture invites participants to answer the question: How do you feel your (or a loved one’s) invisible illness is misunderstood, and what do you wish people knew? The act of writing on the clear surface transforms the piece over time—what was once transparent becomes layered with responses, bringing ‘visibility’ to conditions that are often overlooked or dismissed.

Audience engagement exceeded expectations. People shared deeply personal experiences, opening up conversations about chronic pain, mental health, and societal perceptions of invisible illnesses. The response reinforced Austin’s belief that art has the power to foster connection and awareness.

“More than just a physical artwork, Hysteria is an ongoing conversation,” she reflects. “If this piece helps just one person feel seen, or encourages someone to seek the care they need, then it has served its purpose.”

The installation/interactive experience will be displayed a second time as part of The Cohen New Works Festival 2025 at The University of Texas at Austin in the B. Iden Payne Theatre Lobby, April 7th-11th. Admission is free and no reservation is required during the Festival.

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About the Artist

Collaborators

• Julia Yelvington – Cohen New Works Festival Co-Project Lead / Lead Fabricator 
• Teresa Guerrero C. – Lead Fabricator / Creative Consultant / Materials Testing 
• Bridgette Clifford – Lead Fabricator / Design Consultant 
• Joshua Martin – Welder / Wire / Technical Consultant 
• Carolyn Hardin – Vacuform / Casting & Molding Mentor 
• Daniel Ruiz Bustos – Materials Testing / Installation Assistant 
• Elizabeth Banda – Graphic Designer 
• Juno Adair – Fabricator 
• Zach Young – Technical Consultant 
• Daniel Geld – Technical Consultant 
• Gavin Strawnato – Photographer 
• Roxolana Krywonos – Brainstorming Partner