writing
on
➫ David J. Getsy (2024). No Strings, but Intertwined: Théo Bignon’s Embroidered Rendezvous.
➫ Karl-Gilbert Murray (2024). Théo Bignon, Double Entendre. Espace Art Actuel.
➫ Nicolas Mavrikakis (2024). Détournements Urbains. Le Devoir
by
ABSTRACT
Due to the homoerotic undertones of male underwear ad campaigns and their representations of sexualized bodies, male underwear and their packaging are formative objects in the realization of one’s same-sex desire. Underwear often projects a gay male gaze and becomes a symbolic object charged with ethos, desire and shame. In this article, I expand on my own relationship and encounters with this formative object, informed by this broader landscape of representations. I present projects from my fibre-based art practice that consists of the transformation and embellishment of male underwear. I contextualize the act of hand-embellishing a mass-produced object as a powerful agent for adaptation and appropriation, and I explore the potential to formally queer this normative object. Finally, I mention a project in which I receive worn and stained male underwear that I embroider on before sending them back to their owner. Accompanied by conversations with their owners, I trace individuals’ unique and similar relationship with this object. I argue that these different creative practices, which hand-alter, adapt or re-create the underwear, interrupt normative consumption cycles and misuse of undergarment functionality and can create a space ‘for us’.
Edited by Shaun Cole and Jonathan Allan
➫ Bignon, Théo (2020), ‘Mesh galore’, Catalyst: Casual Encounters, Noxious Sector, pp. 167-182.
The Catalyst book series aims to represent a space of possibility by coupling theorists and artists in ways that galvanize logics, spaces, politics, and practices that are not yet mapped … and perhaps never can be.
Invitation by Cindy Baker, edited by Ted Hiebert