Crop Circles In The Carpet

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"One of the first houses we lived in was like out of a fairy story. We had a stream that ran through our garden, and we played with the ducks - we locked them in my mum’s office and they pooed everywhere. It was crazy, picking blackberries and mushrooms, rabbits running through your legs." — Emilia Clarke for Flare Magazine (2014)

"One of the first houses we lived in was like out of a fairy story. We had a stream that ran through our garden, and we played with the ducks - we locked them in my mum’s office and they pooed everywhere. It was crazy, picking blackberries and mushrooms, rabbits running through your legs." — Emilia Clarke for Flare Magazine (2014)

(Source: stormborns, via asheathes)

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cross-connect:

Mary Sibande  born 1982, lives and works in Johannesburg. She obtained a B-Tech degree in Fine Arts at the University of Johannesburg in 2007. 

In Sibande’s practice as an artist, she employs the human form as a vehicle through painting and sculpture, to explore the construction of identity in a postcolonial South African context, but also attempts to critique stereotypical depictions of women, particularly black women in our society.The body, for Sibande, and particularly the skin, and clothing is the site where history is contested and where fantasies play out. Centrally, she looks at the generational disempowerment of  the black woman and in this sense her work is informed by postcolonial theory, through her art making. In her work, the domestic setting acts as a stage where historical psycho-dramas play out. 

Sibande’s work also highlights how privileged ideals of beauty and femininity aspired to by black women discipline their body through rituals of imitation and reproduction. She inverts the social power indexed by Victorian costumes by reconfiguring it as a domestic worker’s “uniform” complexifying the colonial relationship between “slave” and “master” in a post-apartheid context.  The fabric used to produce uniforms for domestic workers is an instantly recognizable sight in domestic spaces in South Africa and by applying it to Victorian dress she attempts to make a comment about history of servitude as it relates to the present in terms of domestic relationships. 

 Mary Sibande is represented by Gallery Momo

(via cross-connect)