This work is the journey of acceptance, the healing of intergenerational pain and the paradox that makes us endure and relish life. These themes are shown in the 400 hours it took to bring this piece to life.
The sculpture is made of 2500 handmade porcelain pieces linked together with stainless steel jump rings to create a chainmail dress. Tied at the throat, an enveloping tapestry of evil eyes- a widely recognized Middle Eastern symbol for protection from envious looks and bad energies- is shin length with no holes for the arms so the wearer is in a cage. They feel the lush ornamentation of the dress but the piece's limitations are made to subdue the wearer.
The title refers to the feeling the piece leaves behind. Having a considerable weight, similar to that of a weighted blanket, meant to comfort and calm. When removed its pressure lingers, reinforcing a sense of nostalgia of what we once had but comfort in what we are walking towards.
The short film featuring the piece (still in post production) discusses these themes through the stages of life : childhood, adolescence and adulthood. Each having their own rights of passage.
Allison Figueroa Rojas ( Videographer )
Raquel Paredes ( Hair/ Makeup )
Kayla Shears ( Sound Design )
Bettina Szabo ( Dancer )
A test in acceptance, patience and a practice of non anticipation of the manipulation of material. Learning to let the raw piece speak for itself.
The Process: Repurposed shells found in Lac des Deux Montagnes. Cutting full muscle shells into strips with a dremel, sanding, drilling and a final coat of resin. Assembled on a stainless steel chain armeture.
Improvisation. This piece came at a time where I was struggling with print media and understanding my personal approach and creative language.
The title refers to the act of not getting caught in the details and just having fun. Screenprinting being a methodotical practice, was stunting my creativity and left me frustrated.
More comfortable in the third dimension, the decision to transform recycled paper and ink into a marbled design seemed like the most natural thing to do.
Following my love of repetitive action, I then cut the sheets into small triangles and rolled them into spikes which were sewn into the final neckpiece.