TL;DRAbstract
When she dances, acts, sculpts, sews or films, artist Melissa Ichiuji presents the human figure in political and personal terms, examining its various states of desire or distortion. This exhibition In the Flesh presents three discrete recent bodies of Ichiuji’s work: a series of busts of political figures from the 2012 election season entitled Fair Game, a trio of life-sized sculptures of female bodies, and lastly, Everything to Lose, a film and corresponding photographs of the artist donning an elaborately sculpted costume. Despite seeming differences in medium and subject in this exhibition, Ichiuji works with similar materials and artistic practices in each. She sculpts with fabric and pantyhose and does not hide raw, purposefully crude stitches and seams. Because the pantyhose stands in for flesh; bits of thread under the surfaces look like veins, and gestures seem animated, Ichiuji’s heads and bodies are paradoxically naturalistic and doll-like. “My background as a dancer and an
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When she dances, acts, sculpts, sews or films, artist Melissa Ichiuji presents the human figure in political and personal terms, examining its various states of desire or distortion. This exhibition In the Flesh presents three discrete recent bodies of Ichiuji’s work: a series of busts of political figures from the 2012 election season entitled Fair Game, a trio of life-sized sculptures of female bodies, and lastly, Everything to Lose, a film and corresponding photographs of the artist donning an elaborately sculpted costume. Despite seeming differences in medium and subject in this exhibition, Ichiuji works with similar materials and artistic practices in each. She sculpts with fabric and pantyhose and does not hide raw, purposefully crude stitches and seams. Because the pantyhose stands in for flesh; bits of thread under the surfaces look like veins, and gestures seem animated, Ichiuji’s heads and bodies are paradoxically naturalistic and doll-like. “My background as a dancer and an
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