fake fur, cone yarn, dye, 2014, variable dimensions
My compulsion to burn and dye fibers reflects a need to transform material into something that is in conflict with itself. A skin that betrays itself, that is damaged, bruised and blossoming. Estranged from its original and pure form, I feel that this material displays a kind of inverse pollination, one that art historian Hans Sedlmayr might describe as “…(searching) for the smooth, the rigid and the dead, not for the form created by a true organic life, but for the form imposed from the outside, for the formal and ceremonial as such.” In more precise terms, a material that implodes from the tensions of artifice and nature, synthetic and natural fibers, and the healthy and the diseased.
A Daimler Company
