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Textiles are an immediate medium for the transformation of the human body. Through them, appearance can be altered, estranged, or transposed into hybrid forms. Artists such as Meret Oppenheim and Dora Maar already demonstrated in the early twentieth century the potential of textile surfaces to oscillate between human and animal, animate and inanimate states.
Costuming as artistic strategy—as an expression of role play, ritual, and social coding—is the threshold on which Emmélie Lempert operates. The German-Czech artist’s practice moves between sculpture, textile art, installation, and performance, sensitively tracing how material and form give rise to processes of embodiment, memory, and projection. Her solo exhibition at GOODBANK brings together five works that take this surreal, fluid figuration as their central motif.
In the eponymous, ceiling-high installation 'dear empty apex', skin-toned and laundry-coloured fabrics are stretched between Lempert’s s…
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Textiles are an immediate medium for the transformation of the human body. Through them, appearance can be altered, estranged, or transposed into hybrid forms. Artists such as Meret Oppenheim and Dora Maar already demonstrated in the early twentieth century the potential of textile surfaces to oscillate between human and animal, animate and inanimate states.
Costuming as artistic strategy—as an expression of role play, ritual, and social coding—is the threshold on which Emmélie Lempert operates. The German-Czech artist’s practice moves between sculpture, textile art, installation, and performance, sensitively tracing how material and form give rise to processes of embodiment, memory, and projection. Her solo exhibition at GOODBANK brings together five works that take this surreal, fluid figuration as their central motif.
In the eponymous, ceiling-high installation 'dear empty apex', skin-toned and laundry-coloured fabrics are stretched between Lempert’s s…
