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Transmutation was the word that came to mind the first time I saw milliner Sahar Freemantle's Magpie inspired Ugly Lovely collection.
A narrative of claws, animal horns, feathers, shredded snake skin, fossilized beetles, dried butterflies, bird skulls, etc, gave me the impression that if I wore one of her ingenious creations, I could morph into this intelligent bird.
He spoke about dead birds, I remembered birds interested him back then as well, in Bezalel. See, those are birds that people don’t usually put inside their freezer, long winged, magnificent, fragile. He told me about the freezer, the cooler where a dead bird is each time carried into the club he photographs in, waiting for the right, crucial moment.
I was immediately sorry I hadn’t thought of it myself, that I hadn’t stolen him from life, into my story.
Symbolism pushed its way in, photographs with dead birds, magnificent, hurt, in a club named after the primordial singing bird; and that’s the mode of action: he approaches stranger men at the club and asks them to photograph with a dead bird. The necrophilic layer, the emotions layer, the surprise, the threat, the spectacular sight of a boy holding a bird, struck with a spotlight.
It’s a story’s geology, something needs to be done, I thought in despair.
‘When I’m contemplating a new piece, I start by going through my collection of natural history books until I find something that “speaks” to me.
I work with it in terms of size and placement, and then begins the slow and meditative practice of putting paint to porcelain.
Creates some kind of life and death erotica, horrible and beautiful.
Erotica of exploitation, defiance and embarrassment, and sadness.
The Magpie is the only non-mammal species to have the ability of self recognition in a mirror test.
And they are are also the ultimate recycler known for thieving and collecting found objects for their nests.