You know I’ve always been interested in textiles that start loosing
their textile quality, their fibre like quality and start encroaching
into the territory of another medium.
We work with pure silk and we also work with precious metals like
gold and silver. I describe my creative practice as a continuation of a
heritage, of a legacy that is really two thousand years old. That I am
merely someone who continues an enormous contribution that has been made
over the centuries by many people of the world, many cultures of the
world. Tens of thousands of craft people, artists and designers that
have worked with the craft that I practice and very importantly, even
though I am maybe the face of my workshop, I also see my contribution as
being inseparable from the craftspeople who work with me and it’s
really their work that I celebrate in instances like this where an
artist must collaborate with a traditional maker. It can’t merely be
about my creative impulse, my creative output. So I see my role as an
enabler as opposed to the artist that walks away with the credit.
Polly Morgan is a British artist working in London. She rose to attention after learning taxidermy in 2004, when she began to play with and dismantle taxidermy traditions, creating sculptures that have increasingly sidestepped symbolism in order to consider the animal formally.
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