A collection of mock covers focused on the imagery created by Maracole with her Urban Circus, werable art that she interprets with whmsical and devilish transgression.
Maracole imagines to be a living DIVA in her simulacred world where she is featured on the covers of the most popular art and fashion magazines, and she becomes testimonial of the most covated haute couture brands.
If is it true that whatever one can imagine one can manifest in her reality, we will see Maracole soon rising as a shiny star in the real world.
Just a matter of time...
In her simulated glamorous artistic art scene, the diva Maracole really exists, and shines of her own light. If it sounds philosophically accurate saying that reality is just a dream, then the opposite can be true as well: dreams live in the real world.
Maracole's captivation for the genre "mockumentary" finds in this project the most compelling way to showcase a potpourri of diverse skills (sculptor, fashion designer, model and info designer).
At the same time Maracole dares to make a statement about the contemporary art scene: women can only shine when they are able to demolish the constructed male centered schemes, creating their own reality with feminine charm and daring transgression.
In my work as an artist and a designer I am focusing on female perspective and women power.
I created this piece in 2016 and at the end of the year I had it finally 3D-printed.
Lilith is a pendant that can be worn on the tip of your nose, like a portion of a Venetian Mask. It then becomes a party nose, with a playful twist... In fact the shape of this jewel recalls a phallus, ironically confering a woman`s face masculine qualities.
All this with charming references to baroque ornaments among the most unusual and refined. A detail oriented design enanches the vintage look of the 3D printed material and swarowsky gems make it precious.
Asian girls look good on a Nose Jewel, too.
Posing as Marie Antoinette, 2017
Photo portrait of set prop, a Noe Jewel in gold leafed resin.
Video taken at the Fish Factory on June 2017 as a result of my artist residency focused in the production of phallic shaped headpieces
Icelandic folk hats are so evocative and simple at the same time.
Everything started with this book about traditional fashion in Icelandic culture.
A traditional Icelandic female headpiece. It has a very interesting and quite phallic shape. I decided that this was the key inspiration point for my project.
References of phallic headpieces from the artists of the Bauhaus in Berlin. Look how everything that I selected for this project has a phallic connotation but also a traditional circus performance`s feeling. Performing arts are a fundamental iconographic source in my work with wearables and sculpture.
I had merging the concept of wearable art coming from the performing arts at the Bauhaus with my background in animation, and I created playful phallic shapes to fit the head.
Building the structure of the hat
I approach wearable art like a sculptural piece and therefore I build a skeleton, an internal structure to hold the piece.
The making of the spheres, or balls, with felted stuffing and pins.
this hat is self standing and therefore is a wearable sculpture. I like the hjeratic simplicity of the shilouette. And the black outline reminds me of the American design of the 50ies, which I truly love.
Religious references in the shape and colors of this hat make it a bridge between pop and Italian rligious heritage. I had fun playing with the concept of a phallic hat that is actually a religious ornament.
Artist Natalia Fabia is wearing the Cock Pope Hat at the Corey Helford Gallery in DTLA
Artist Zoey Tailor is wearing the Cock Pope Hat at the Corey Helford Gallery in DTLA
Another Icelandic ancient iconographic image depicting the female fashion. Note how this character looks like a circus clown! This image inspired the sketches that follow.
This is a recicled couch cover, hand sewn in the shape of a wig. Sequins hand sewn on the wig says "I feel empty", a statement about the ostracization of feminine in our male doomed society.
A trash couch has a value in itself, because it absorbed the energy of those who enjoyed it. In other words, a trash sofa is a remain, something that got lost, yet keeps peering through the surface.
My fascination for trashed couch covers comes from my childhood, as I was surrounded by ancient furniture and I learned how everything can be fixed, sewn together and reused.
Textile is a great medium because it can be done and undone, changed and reshaped, many times, during the process of creating a piece of art. Unlike ceramic, that is tragically and beautfully unforgiving.
Made out of a trashed couch, my giant wig is uncertainly standing, like a prehistorical animal dealing with extinction. Standing on its curly strands, my wig is a monument to the innocent beauty of Shirley Temple, mixed to the momentousness of Marie Antoinette: pompous yet superfluous, in its obvious defeat.
This piece explores the painful relationship between what we show to the outside and how we feel inside. Often the two things don't match. Sequins hand sewn on the surface of this giant wig are expressing how one can really feel inside, in contrast with the pompousness of the social sharade.
Notice how I reversed the fabric that I used to cover and build the inside of the wig. The medium supports the concept: inside vs outside.
Louis 17th looking like curly strands of hair create the wig-effect of this piece, unique in its kind.
