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2020. Prints, one channel video, textile work and Instagram posts.
I made an inventory of my wardrobe in 2020 which was an intervention to my conventional consumer behaviour. Usually I buy clothes from shops, wear them until I leave them in my wardrobe or throw them away. I barely give a thought for the lifecycle of clothes: where these garments come from and where they end up after they are discarded. Instead of that I made a thorough inventory of accessories, clothes, and footwear I owned at that time and weighed them one by one. Then I created an artwork based on it. This work consists of four parts: a textile work, prints, a one channel video, and Instagram posts.
This artwork consists of a two channel video and a pile of cotton pads which have transformed into cotton wool in the process of handwash. In order to create this work I photographed dirty cotton pads which I had used in removing make-up, and then I recorded the process of washing and drying these cotton pads. This act was an intervention to the conventional way to use cotton pads. Usually I draw a cotton pad from a package, use it for removing make-up off my face and toss it into a bin without pondering the origin and lifecycle of the cotton in the pads. Instead of this I used cotton pads as a subject and material in an artwork. This artwork draws attention into the consumption of daily commodities and the waste of disposables.
In this two channel video there is three acts which express the passage of time and control of the body. There is, side by side, a video about a beauty routine and an animation about a product or a body part related to beauty routines. I photographed my perfume bottle, hairbrush, and toes on daily basis during a few months for creating animations from pictures. I also recorded some beauty routines that I used to do in my everyday life. In the first act is a video of applying deodorant on an armpit next to an animation of an emptying parfume bottle. In the second act the video is of blucking eyebrows and the animation presents the growth of nails and hair on toes. In the third act is a video of hands braiding hair and an animation of a hairbrush being covered with more and more hair. Audio on this video is based on natural sounds from these beauty routines.
2019. One channel video and the remains of a purse. 00:15:35, stereo.
In the video I disassemble my old handbag. Through this act, I lead the viewer to consider the valuation and consumption of items and the life cycle of goods. The video is shown on a screen and the remains of the bag are placed near the video on a pedestal.
2018–2022. Used accessories, clothes and shoes, a printed material list (and a two channel video).
For the artwork 21 841 grams of waste I emptied my wardrobe from accessories, clothes and shoes which had been there without any use, just waiting for recycling or disposing. I made notes of the information I discovered from these items, and complemented that with info I could find via web and from my memory. I measured these items and then dismantled them by cutting and ripping. From this process sprang up both immaterial and material substance which I transformed first into a textile sculpture, a two channel video and a printed publication. I have developed this artwork by remaking the textile sculpture and extending the printed material list. The work has been on display in two versions.
To Be Seen is an ensemble of four video pieces, each of which creates a perspective on beauty routines. In the beginning, I tried to document evidence of my femininity, but later I was more interested in why am I doing these beauty routines in the first place. Among other things, I considered how social norms, particularly ideals and anti-ideals about the feminine body, can reach an individual’s private space. This is present in the ways how I see my body and how I treat it. I also questioned the importance of beauty routines in my life generally.