Imperfection is what makes our skin a "carrier of memory, a metaphor for experience, and an inscription". Constantly changing and regenerating, skin consists of layers of cells that not only act as a protective barrier, but also communicate messages about our identity. "Every mark, rupture, wrinkle and scar has a history of time, place and action and every blemish tells a story".
The work attempts to piece together the idea of these ruptures or imperfections by exploring stocking fabric as a medium. It follows the process of de-constructing and re-constructing by ripping, stretching, mending and stitching. The intention is not to perfect the materials, but instead it is about the gesture to hold things together despite the inevitable flaws. Although stockings are normally intended to perfect the appearance of skin by making it appear smooth and flawless, its delicate woven surface is easily snagged, ripped and frayed.
The work explores these imperfections by using material that is "a little like us: imperfect goods in a culture obsessed by perfection, but moving despite- or because of- their flaws". When placed in a new context, the holes and runs in the fabric can be considered as permanent marks inscribed on to the canvas surface. Like the scars and wrinkles on our skin, they remind us of a moment, a movement or memory, stitched together to create "an autobiographical map of human existence".
Shepheard, C. (1999). In S. Chesterman and C. Shepheard (Eds.), The Body Inscribed: Challenging Tradition. (pp. 27-28). Auckland: CYSSY Publications.
Barr, J. and Barr, M. (2001). Mikala Dwyer. Good Work: The Jim Barr and Mary Barr collection. Dunedin: Dunedin Public Art Gallery, p. 9.
Shepheard, C. (1999). In S. Chesterman and C. Shepheard (Eds.), The Body Inscribed: Challenging Tradition. (pp. 27-28). Auckland: CYSSY Publications.