You’ve previously spoken of your interest in creating characters through costume that simultaneously conceal, transform and abstract the body. In this case you have done this through the use of hair. What do these characters’ hairy exterior say about them? Hair, in its excess, becomes grotesque and undesirable. I liked how that contrasted with these characters, who are heavily hirsute but completely at peace with that. They’re very relaxed in their hairiness. In my practice I use a lot of different materials. Hair is just another extension, another material for me to experiment with covering the exterior, covering my own self to create a transformed, new character.
You have spoken of your preference for readymade, everyday materials to construct your characters. Is this purely because of the ease in acquiring them, or do you have other considerations for the use of these types of materials? What’s interesting about readymade materials is that they have a life of their own already – they have a suggested or required use that they’re built for and I like that. It allows me to collaborate with the materials and distort them, it almost becomes a conversation with the materials as opposed to me having complete control over the process. The other thing about them is that they generally have these lurid colours that are inviting, I like the idea that it draws attention to the surface. I often look closely at the textures: the tactile surfaces that these readymade materials have. It invites the viewer to look closer, to examine this new skin that I’ve built over the top of the body, but at the same time it’s concealing and covering so it pulls away from the viewer. It’s this kind of double act: disappearance and appearance at the same time.