Sherman Questions VI

1. Cindy Sherman Untitled #157, 1986
2. Madeleine Vionnet 1930s

Sherman's images of ugliness reach their climax with a 1986 character transformation. The woman is transformed into an antropomorphed hybrid, recalling motives of ancient mythology. Of course, this jinxed figure is posing in an historical archive piece by Madelaine Vionnet, a woman known for dressing puppets.
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Image credits Cindy Sherman, Unknown

Art Department: Luis Perez Jauregui

Artworks Luis Perez Jauregui

Luis Perez Jauregui creates character transformations. Consequently, the artist's self-portrait becomes an anti-self-portrait. Still, his body of work comprises a multiplicity of his very own, characteristic personae. I asked him to create a piece for the Art Department series.

He concludes: 'In my opinion, the aesthetic of Lynn & Horst is very clean and minimal, with a dark provocative side to it, so I wanted to create a character that best represented that. The harness is something I made myself specially for this character. It was inspired by the art of S&M and rope bondage. Instead of rope though, I used a strand of metallic beads to transform an otherwise simple harness into something more modern.'
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Serialization

1. Maison Martin Margiela Tokyo Store
2. Brian Jungen Cetology, 2002

A rail of luxury items in a sterilized surrounding. Artefacts of mass market production reworked into prehistoricalist sculptures. Hold together by the linear order of our culture's white spine.
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Circular

Hernández Cornet for NICE Design Competition

Re-use, re-cover, re-cycle. Ana Hernández Cornet's contribution to the Danish sustainability project quotes the transformation of fabrics with a circle-shaped shirt and a colour palette that revives the virginity of textiles.
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Physical Fragment

Artworks Winston Chmielinsk

The human a surface for its surrounding. Faces transformed into empty space and textured by unverifiable transparency. The being as assemblage of seemingly incongruous pieces.
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