Mark Woods fabrica objetos de deseo, entre el “ready made” y la orfebrería.
Artefactos que bien podrían satisfacer la curiosidad y provocar el fetichismo de un ávido visitante de un “cuarto de las maravillas” o “cabinet de curiosités”.
And in Her Reflection, She Saw the Thing That She Would Become, 2013.
Bib Baby, 2014. Wax, fabric, findings, human hair.
Blonde Bombshell, 2014. Carved plastic rhodium-plated silver, human hair, 220 x 70 x70 mm.
Brownie Box Fetish, 2014. Leather, resin, silver, findings, 170 x 90 x 130 mm.
Fake Bun Fetish, 2014. Carved and turned plastic, rhodium plate, synthetic hair.
Fuck Bunny Totem, 2014. Leather, lace, fake hair-bun, metal findings, fur, rope.
Lil' Cutie-Balls, 2014. Wax, bra liners, fabric, findings.
Long Weight, 2014. Plastic, metal, rope, 500 x 145 mm.
Pierced Heart of Broken Nails, 2014. Leather, fabric, findings, human hair, 130 x 120 x 100 mm.
Pink & Friendly, 2013. Fabric, wood resin, silver, velvet, 200 x 130 x 140 mm.
Retail Cornucopia, 2015. Fabric, plastic, wax, fingernails, metal findings, 200 x 145 x 95 mm.
Rubber, leather & P.V.C., 2015. Leather, turned wood. 610 x200 mm.
The abscence of Light & Love, 2015. Leather, suede, fabric, plastic, metal.
The Devil in your mind, became an Angel in mine, 2015. Fake snake, plastic, metal findings, epoxy resine.
The Word Made Flesh, 2013. Rhodium-plated silver, suede, lace wood, resin 160 x 50 mm.
To be Aroused in Hell, Would Only Mean Torment, 2013. Leather, fabric, plastic findings, 100 x 380 mm.
War Heart Fetish, 2014. Wax, resin, fabric, findings.
White Button Fetish, 2013. Plastic leather, metal findings.
White Fetish, 2013. Plastic & leather findings, 130 x 80 mm.
Sus construcciones realmente atractivas y sugerentes, realizadas con una factura perfecta los alejan de cualquier funcionalidad, y adquieren un carácter apotropaico.
La conjunción de realidades desbordadas e inconexas nos acercan a aquella idea descrita por el Conde de Lautréamont: «bello como el encuentro fortuito, sobre una mesa de disección, de un paraguas y una máquina de coser», el ojo de la transgresión surreal.
Maria Church
markwoods-studio.com
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