SERIES 2: CONCUPISCIENCE
DESIRE | LURE | INFATUATION
HEDONISM| POSTERITY | CHARM
Resin, Iron and Copper
Resin, Iron and Copper
Pencil, Acrylic and Watercolour on Paper (x2)
IN THE GALLERY
Turritopsis Dohrni: Vol.2
"Death - the longest life may fade and perish, but one moment can live and become immortal.”
Death, following a life lived well, or even one full regret, is one of the greatest gifts of all time - freedom from one of the worst fates imaginable - an eternity of suffering and loss.
Perhaps death also provides an opportunity for a new life - one that transcends the confinement of our human bodies – a legacy which allows us to cheat suffering, whilst ensuring the continuation of our lives through those we’ve inspired and enthused.
Eve was God's original fatale woman, and the apple, which represents the knowledge of good and evil has replaced her head - a personification of her desire, as she leverages her sexuality to tear down the posterity of man. She tempts Adam to be complicit in a divinely forbidden pursuit of knowledge (and therefore power), thus luring him to his death, and with him, the rest of humankind.
Thus the Femme Fatale therefore is born of the fear and desire experienced by men, confronted with women who deny the right of men to control female sexuality.
The Femme Fatale now finds herself at a critical juncture, torn between the appeal of enslaving men with breast and lip, against the dissatisfaction, and perhaps even the perceived degradation of achieving power, only by means of entrapment, artifice, and seduction.
Throughout history, in paintings by the likes of Caravaggio, the apple has been a mysterious and ambiguous symbol that reveals a mass of meanings and unites many opposing messages, from the embodiment of youth, to fertility, temptation and health.
In some cases, these apples would depict maggots tunneling through them to represent death and the impending doom of mortality. The Forbidden Fruit has sought to reduce the significance of the apple, and has replaced the maggot (with the obvious), to represent the opposite - life. Coupled with other fruit, this piece also touches on our consciousness of nakedness, erotcism, and variety.
“I seem to have run in a great circle, and met myself again on the starting line.” - Jeanette Winterson, Oranges Are Not the Only Fruit”
The undertones of the Forbidden Fruit are personal. It talks to the journey of experiencing sexuality in its many different forms and how these experiences in part constitute our identity. Some of us like bananas, some grapes, some oranges, or perhaps a little of everything, and to varying degrees of preference.
“As a survivor, I feel a duty to provide a realistic view of the complexity of recovery. I am not here to rebrand the mess he made on campus. It is not my responsibility to alchemize what he did into healing words society can digest. I do not exist to be the eternal flame, the beacon, the flowers that bloom in your garden.”
― Chanel Miller, Know My Name
Sexual assult is a soul destroyer. It’s like murder, only it’s more difficult to see the blood on ones hands. For survivors, the scars can be a reminder of innocence gone, and idealisms buried.
Depicting the emergence of a great musician from the harmonisation of birds, Whiplash plays on our preconceptions on the roles of desolation and humiliation in the forging of great artistic works, to portray staged acts of triumph and counter-triumph.
"Absolute perfection requires absolute sacrifice"
In a compulsion to achieve greatness, a woman forfeits her sanity and transcends her former self, much of which requires self-destruction.
If the old self is not good enough, then the old self must be destroyed - this only makes sense to the maniac. As you may have figured, part of her transformation, is a journey into insanity.
For the insecure overachiever, failure to achieve this is often the beginning of profound moral and existential crises.
Then she asks herself, perhaps I should have remained ignorant, perhaps there is no greater purpose to find, perhaps what is in front of me is all there is, perhaps the torture of the pursuit of meaning doesn’t make life more meaningful, just different.
South of the Border, West of the Sun:Vol.1
“Here's to the crazy ones - the misfits, the rebels, the troublemakers, the round pegs in the square holes, the ones who see things differently. They're not fond of rules and they have no respect for the status quo.
You can quote them, disagree with them, glorify or vilify them. About the only thing you can't do is ignore them. Because they change things. They push the human race forward.
And while some may see them as the crazy ones, we see genius. Because the people who are crazy enough to think they can change the world, are the ones who do.” - Rob Siltanen/Apple Inc
South of the Border, West of the Sun: Vol.2
Made with teeth, plucked from L.K.Ifayemi’s own mouth, renegade stands as a symbol of defiance, change and insubordination. Unbound by civility or formality, renegades are necessary for challenging our collective psyche and by their very nature/composition, offer an alternative dialogue to the vernacular conversations of the ordinary and the unfulfilled.
"Most viewers of art feel entitled to their own interpretation of it - which in effect, negates the need for the artist who created the piece to instil it with meaning in the first place.
We call this phenomenon “the lazy artists mandate” - an unwritten/social contract between the “modern” artist and their audience - one which frees them of any responsibility to create anything of meaning and grants them a license to make “furniture” - pieces of great aesthetic value, but with little or no sentiment.
Any sense derived from these pieces is merely a manifestation of the viewers own delusions.
I want to try and do things differently...with intent." L.K.Ifayemi
Drawing on the philosophy of existentialism, political theory and visionary aesthetics, ROACH collections include, drawings, paintings and sculptures – all of which have a dual identity: consisting of two parts, known as volumes (Vol.1 & 2).
Every collection and its respective volumes are sold together and cannot be purchased individually.
Together, 5-12 collections comprise a ‘Series’, which are all unveiled together at periodic exhibitions. Only 7 of these series will be released in total. Thereafter, no other works will be produced.