Tenant of Culture
Tenant of Culture book catalogues the artist’s development via a conclusive overview of both early and more recent work, accompanied by an essay from curator Jeppe Ugelvig titled “Tenant of Culture, Ragpicker of Fashion History” and an interview with Tenant of Culture’s ongoing collaborator 650mAh. While the essay interrogates the references, materials and processes that underpin the artist’s sculptural assemblages, the interview concentrates on public workshops held to encourage the exchange of ideas and techniques for garment recycling and upcycling.
By disassembling and rebuilding manufactured garments, Tenant of Culture examines where ideological, political, or cultural perspectives materialise in the various stages of the production and marketing of apparel. Using deconstruction as a method to gain insight into industrial processes, Tenant of Culture seeks materials sourced from various stages of the garment production cycle that relate to recent trends in fashion and their socio-political histories.
Taking clothing, shoes and accessories apart to reveal their seams, stains and wear similarly enables the artist to mine material for design decisions that uncover traces of the individual responsible for its assembly and interrogate the ambiguous ethics of production. The highly formalised division of labour in the production of apparel is structurally embedded in mass-produced garments. Tenant of Culture incorporates these materials into sculptural assemblages utilising a reconstructive process combined with materials more readily associated with durability.
Considering the lifespan of these sculptural components enables the artist to question the commercial strategy of material obsolescence that enforces capitalist overproduction. These works examine the strategic codification of visual languages and techniques in luxury commodity production that obscure or expose dynamics of power, domination and assertion of class via a constant re-/de-valuation of goods.
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Tenant of Culture
Tenant of Culture book catalogues the artist’s development via a conclusive overview of both early and more recent work, accompanied by an essay from curator Jeppe Ugelvig titled “Tenant of Culture, Ragpicker of Fashion History” and an interview with Tenant of Culture’s ongoing collaborator 650mAh. While the essay interrogates the references, materials and processes that underpin the artist’s sculptural assemblages, the interview concentrates on public workshops held to encourage the exchange of ideas and techniques for garment recycling and upcycling.
By disassembling and rebuilding manufactured garments, Tenant of Culture examines where ideological, political, or cultural perspectives materialise in the various stages of the production and marketing of apparel. Using deconstruction as a method to gain insight into industrial processes, Tenant of Culture seeks materials sourced from various stages of the garment production cycle that relate to recent trends in fashion and their socio-political histories.
Taking clothing, shoes and accessories apart to reveal their seams, stains and wear similarly enables the artist to mine material for design decisions that uncover traces of the individual responsible for its assembly and interrogate the ambiguous ethics of production. The highly formalised division of labour in the production of apparel is structurally embedded in mass-produced garments. Tenant of Culture incorporates these materials into sculptural assemblages utilising a reconstructive process combined with materials more readily associated with durability.
Considering the lifespan of these sculptural components enables the artist to question the commercial strategy of material obsolescence that enforces capitalist overproduction. These works examine the strategic codification of visual languages and techniques in luxury commodity production that obscure or expose dynamics of power, domination and assertion of class via a constant re-/de-valuation of goods.
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Tenant of Culture book catalogues the artist’s development via a conclusive overview of both early and more recent work, accompanied by an essay from curator Jeppe Ugelvig titled “Tenant of Culture, Ragpicker of Fashion History” and an interview with Tenant of Culture’s ongoing collaborator 650mAh. While the essay interrogates the references, materials and processes that underpin the artist’s sculptural assemblages, the interview concentrates on public workshops held to encourage the exchange of ideas and techniques for garment recycling and upcycling.
By disassembling and rebuilding manufactured garments, Tenant of Culture examines where ideological, political, or cultural perspectives materialise in the various stages of the production and marketing of apparel. Using deconstruction as a method to gain insight into industrial processes, Tenant of Culture seeks materials sourced from various stages of the garment production cycle that relate to recent trends in fashion and their socio-political histories.
Taking clothing, shoes and accessories apart to reveal their seams, stains and wear similarly enables the artist to mine material for design decisions that uncover traces of the individual responsible for its assembly and interrogate the ambiguous ethics of production. The highly formalised division of labour in the production of apparel is structurally embedded in mass-produced garments. Tenant of Culture incorporates these materials into sculptural assemblages utilising a reconstructive process combined with materials more readily associated with durability.
Considering the lifespan of these sculptural components enables the artist to question the commercial strategy of material obsolescence that enforces capitalist overproduction. These works examine the strategic codification of visual languages and techniques in luxury commodity production that obscure or expose dynamics of power, domination and assertion of class via a constant re-/de-valuation of goods.
