ou tell me after watching Cal Lane turn wheelbarrows and metal cans lace, we will not be surprised

ou tell me after watching Cal Lane turn wheelbarrows and metal cans lace, we will not be surprised that Clemence Joly knitting chops and sausages. Well if we are surprised and pleasantly surprised even. That said, apart from the side "book lady" and the fact that both of us were presented on Netkulture perhaps have they any other common? If another: what they do is funny. Not only funny, but at first: funny. Ah! Then are women too.
As you will see by visiting Clemence large bubble wrap Joly, it is not his first attempt knitting. It seems that this state butcher it was commissioned by a London haberdasher. She had already had the opportunity to knit things that are eaten to showcase a new store New Look in Lyon. You can also find on his website a few lines of intent excessively school, which is huge forgive spelling and syntax, which I tried to rid the version below. But elsewhere, hop, as it will be done, it should be said once and for all: Clemence Joly, we forgive all, unconditionally.
We are surrounded by products of animal consumption. Whether for our plates, large bubble wrap our wardrobes, furniture or drugs, animals are an incredible source for our needs. Given my interest in the aesthetics of fashion and the meat industry, I explored both areas and the paradox of a piece of cloth is equal in importance to a piece of meat. While one is associated with the glamor, the other is associated with blood and guts. Both represent our daily intake because we need the meat industry to feed us and the fashion industry to clothe us. I played with the tools and techniques of both worlds to create fun crafts and hybrids that combine both the aesthetics of a butcher counter a catwalk fashion.
Help! Fortunately, the talent and sensitivity of this (probably large bubble wrap very young) artist manifested more clearly in what it achieves in what she writes. What touches me very much in this butchery of wool is that it seems - as incredible as this hypothesis (free) sounds - what brings meat and knitting largely escapes the artist herself . There is something there. She seems not to know anything, just that the two areas of interest. Then she brings them closer and something happens. At least in knitted items. In my opinion much less in her dress of butcher paper. This phase of the research is very interesting. You can spend an artist's life to revolve around the Central Staff pot, we guess which one could say precisely how far each is still work, this one closer, this one too far. You can get lost on the way, sink in the art, or in the rehashed. Despair can get there, or even fear of doing so. We do not lose even more surely finally found the object of our quest? What would be then if we had nothing to look?
Clemence Joly is not there. Fortunately it is even far away. She knits (Crochet) roasts, slices of ham, sausages and chops because there is something there. She goes.
But I, who do not knit - or more accurately, more - me butcher stalls are both thrilled and salivate, me trying to run my head, my heart and my words together, I try to say no to look far for that matter, simply: The dress, this is what our shell casing. It is a reflection on the skin which leads me to this work. What happens in the slaughter happens between wool and knitting raw meat swaddled between what is exposed and wrapped snugly. It will be remembered the way out exactly what wool. Knitting meat then approaches strikingly the inside from the outside, deep superficial, trivial sophisticated but not cancel these oppositions, just by knitting together.
Personally, this is good because it tells me what I'm running, otherwise it would just be a joke more or yet another example of these artists damning professing you can do anything with beer caps, or wire, or any technique with which they align achievements, sometimes spectacular, but having large bubble wrap nothing to say, just loaded to knock us know how.
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