Mousse 74
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There’s some people that the world treats as if they were boys until those people decide one day they really need to be girls—are girls in some sense of the word, in some sense of gender. There’s a lot of different ways to be such a girl, although you wouldn’t know it from how they appear in books. By they I mean we, as I’m one of them.
Growing up in Cape Town, the artist’s family would trade old clothes for Xhosa baskets, and a young Igshaan Adams would do his best to weave his own using fronds from an old palm tree in their garden. He’s still weaving today, but his materials now comprise rope, steel, found fabric (including the South African flag), and beads, and the results are draped, beaded affairs that sigh like a disembodied cowl neck or a work by El Anatsui.
Driving the Human will condense the conceptual results into instructive designs, whatever form those may take. In any case, the seven prototypes will be physically experienceable, whether in the form of an architectural mock-up, a performance, an installation of design objects, or a media work, and they will all be presented and publicly discussed at the multidisciplinary festival.
All of my surfaces are the antithesis of industrial production, although I like to play with the solemnity of what looks like a patinated bronze finish. For example, I use copper powder, which is then oxidized, turning the surface from orangey brown to greens and blues, and gives the impression that the sculpture is a patinated bronze that has been sitting outside for years.
