Busts and Armour
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Busts/armour
The metal busts/armours are based on 19th century dress patterns. Patterns are lie maps for the body. By concentrating on the surface I describe the cultured layers, which, in form of our clothing become a second skin. Skin possesses a process called osmosis, by which this semi-permeable membrane lets certain things pass in both directions. Clothing communicates but also absorbs values.
Metal increases the awareness of the architectural construction and constriction of clothing and moves clothing outside the domestic sphere. It also speaks of armour, and both Athena and Joan of Arc have worn armour.
Finally the shaping of the female body into very different forms through constructive clothing, seems always more apparent in hindsight, than current fashion trends.
The metal busts/armours are based on 19th century dress patterns. Patterns are lie maps for the body. By concentrating on the surface I describe the cultured layers, which, in form of our clothing become a second skin. Skin possesses a process called osmosis, by which this semi-permeable membrane lets certain things pass in both directions. Clothing communicates but also absorbs values.
Metal increases the awareness of the architectural construction and constriction of clothing and moves clothing outside the domestic sphere. It also speaks of armour, and both Athena and Joan of Arc have worn armour.
Finally the shaping of the female body into very different forms through constructive clothing, seems always more apparent in hindsight, than current fashion trends.
Rosie the Riveter or Robe Simplicity # 7435, aluminum, pop rivets below+ right: installation view and work in progress at Sympo-Fibres, de Saint-Hyacinthe, an International, invitational Artists Residency, Quebec, 1996;
above: Exhibition view at Dressing Down at Oakvillle Art Gallery, 1998 (curated by Robin Metcalf) 
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