***DISCLAIMER: CONTAINS NUDITY***
My practice is made up of a combination of disciplines that include: textiles, in the form of woven tapestry, collage, printmaking and a return to object making. References or suggestions to the body are evident in the way I form my work, be it object based, two-dimensional or somewhere in between. Recurring themes of self, identity, sexuality and the body are common in my work where I merge the various disciplines I employ to explore the human form and condition.
For Balaclava.Q, I am presenting a series of works made in 2010, under the umbrella of “ALTERED STATE”. This set of works documents a period where my relationship with my work changed and marked a shift in seeing and creating, constructing a new sub-language within my more recognised body dialogues, exploring parallels within the self; altering and shape-shifting into these meta-figurative beings. I appear in each of the works under a new guise, taking advantage of this manner of ‘appropriation’ and ‘alteration’ as my way of entering the work, placing my being into the picture.
“ALTERED STATE” questions the origin of identity, authorship and originality, and their relevance to making art today. A number of pieces include homages to artists and their works. These images have been constant inspirations and influences throughout my career, and in essence, I have turned the table to physically exploit them as my own. There is a nod to the original, bearing my own twist in varying forms of erasure.
In my most current work, my interest in combining sculpture/object-making and the textile medium as a form of exploring these recurring themes, uses the practicalities and traditional methods to discern a metaphor within the human form. Works exploit the male body in two presentations: the ‘physical and immediate’, and ‘the organic and abstracted’. Both comment on the complex nature of the self, forming systems that communicate as metaphors representing the body through: ‘thread as the thought’, ‘warp as the skeleton’, ‘weft as flesh or skin’, and ‘weave’ as the soul. These ‘gestures’ take on their own symbolism and appearance, but are implicit presences, traces or imprints of identity and self.
Cos Ahmet / 2016
These images were generously supplied by the artist.
Please contact the artist before using them.