consume her demand addresses fashions; fundamental paradox; it is a system of oppression and a form of liberation.
Using recognizable artifacts and images, the sociopolitical gestures of three artists demands pause and consideration. Agent C Gallery is p;eased to present Seattle based artist Mary Coss, Vancouver based artists Monique Motut-Firth, and Charlene Vickers, an Anishinabe Kwe/Ojibwayaertist based in Vancouver.
Motut-Firth's collage installation, Polly's Dolls, made from hundreds of meticulously cut-out catalogue images that "layer and weave together disparate image cultures, eras and visual signifiers," provides an expansive overview of the development of fashion over the course of the twentieth century.
Coss' collective body of works entitled Public Debt to the Suffragette conflates identity with fashion. Employing bronze corset works, video projections onto large sculptural umbrella dresses, and a text based neon sign, Coss examines the relationship between the female form and the drive toward its emancipation.
Vickers adopts the language of consumerism and then subverts it. Challenging colonization, trade, and modern consumerism, Variations and Traces of Ancestral Selves features intricately beaded moccasion boots modelled in a traditional Anishinabe style, sewn from cardboard beer cases. Her installation Ominjimendaan/to remember presents tall lengths of pointed, sharpened cedar that stand in balance, symbolizing a defensive strategy against violence enacted toward indigenous women.