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Image 1 of 1
Image 1 of 1
Image 1 of 1
Embroidery silk, padding, angelskin, Lycra, beads on linen
32 x 26 cm
2024
I’m interested in how we see things and how we interpret what we see. Why do we see some bodies, or characteristics of bodies, as beautiful or attractive and others as ugly or disgusting. Is it entirely a social construction or is there something inherently attractive or beautiful in particular characteristics of bodies?
I like how bodies show their history and how particular occasions leave their marks - stretch marks, scars, spots, veins - the body as a documentary. During its lifetime the body replaces almost all its cells multiple times but in so doing it doesn’t obliterate its history - stretch marks remain, scars remain, veins bulge, liver spots increase. The body’s history remains intact.
I work with fabric, stitch and embroidery, all things with social and historical associations. I want to investigate how those associations might affect how the content of my work is seen.
Embroidery silk, padding, angelskin, Lycra, beads on linen
32 x 26 cm
2024
I’m interested in how we see things and how we interpret what we see. Why do we see some bodies, or characteristics of bodies, as beautiful or attractive and others as ugly or disgusting. Is it entirely a social construction or is there something inherently attractive or beautiful in particular characteristics of bodies?
I like how bodies show their history and how particular occasions leave their marks - stretch marks, scars, spots, veins - the body as a documentary. During its lifetime the body replaces almost all its cells multiple times but in so doing it doesn’t obliterate its history - stretch marks remain, scars remain, veins bulge, liver spots increase. The body’s history remains intact.
I work with fabric, stitch and embroidery, all things with social and historical associations. I want to investigate how those associations might affect how the content of my work is seen.