MIRIAM SCHELLER
Miriam Scheller's creation of five knitted performance tubes, titled "W.I.Y.S.S?," serves as a profound exploration of the concept of a second skin. This inquiry into the idea of a second skin is filtered through the lens of Scheller's personal experience as a biracial individual, where heightened awareness of the body's function as a readable symbol is a constant presence. Through this work, Scheller delves deep into her German Nigerian heritage, claiming her narrative surrounding it.
In response to these questions, Scheller's artistic journey leads us through the comforting security of a swaddle and the expressive nature of fabric tracing the contours of the body.
In response to these questions, Scheller's artistic journey leads us through the comforting security of a swaddle and the expressive nature of fabric tracing the contours of the body.
Swaddling, an age-old practice dating back centuries, involves the snug wrapping of infants in cloth or blankets to restrict their movement. This ancient tradition is cherished for its remarkable ability to soothe and cocoon newborns, replicating the safety and comfort of the womb. Swaddling's roots are deeply intertwined with the nurturing of infants. In "W.I.Y.S.S.," Scheller reimagines the act of wrapping, not to restrict but to enable movement. It is a movement that finds its unique expression through the medium of knitted fabric.
Drawing inspiration from the practice of uli, a traditional body painting technique practiced by the Igbo tribe of Nigeria, Scheller introduces the concept of a visible dust aura surrounding a person as the foundation of "W.I.Y.S.S.?"
The use of the second skin in this work blurs the boundaries between body and symbols. These elements meld, intertwine, and constantly influence each other in a dynamic interplay, creating an almost interchangeable relationship. Through this captivating exploration, Scheller invites us to contemplate the intricate connections between identity, heritage, and the ever-evolving nature of self-expression.
Drawing inspiration from the practice of uli, a traditional body painting technique practiced by the Igbo tribe of Nigeria, Scheller introduces the concept of a visible dust aura surrounding a person as the foundation of "W.I.Y.S.S.?"
The use of the second skin in this work blurs the boundaries between body and symbols. These elements meld, intertwine, and constantly influence each other in a dynamic interplay, creating an almost interchangeable relationship. Through this captivating exploration, Scheller invites us to contemplate the intricate connections between identity, heritage, and the ever-evolving nature of self-expression.