Fibra Huid translates literally as fiber hide, the secondary meaning speaks to filaments, internal organs and mammal skin. By using both the Latin and Dutch languages in my titles I reference the origin point of my research focus and personal genetic history.
Each of Fibra Huid’s hanging mobiles is sculpted with abaca fiber pulp, embedding cotton blend thread and vines found in local forests. When the unbleached abaca dries it loses almost half its volume, condensing itself into organic, almost unpredictable forms. This contraction torques the vines into animalistic forms that remind us of our skin and bone. Dependant on the weight of the paper it can be textured and hard or softly translucent. The texture ingrained in the core of the paper intentionally relates to the patina of caves and the textured surfaces of ancient temples. If you look closely you begin to see the press and indentation of many hands in the abaca fiber itself. This relates us further to the exhibition of our hand-body connection to the flesh of the sculpture. The naturally colored threads are bundled by hand creating a form that describes hair or spanish moss. This abundant cotton fiber hangs off the paper-hide forms reaching down toward the ground and pooling on the floor.
The individual mobiles are suspended to create a visual path, creating a line across a section of the gallery space. Each object has an organic form, allowing the differing sizes and shapes to relate, creating visual consistency. The sinew-like quality is highlighted by the thread and natural objects embedded like bones and capillaries. Each mobile is illuminated at an angle, forcing an interaction with the luminosity of the fleshy objects. The combination of the abaca’s ivory colored translucency and the embedded objects relate us back to our bodies, leather, flesh and bone in diverse ways. Some viewers revel in the hair like fibers and the aesthetic of the luminous paper, while others find their own skin ‘crawling’ and are encouraged to engage with that sensation.