„Everyone says theatre is life. Most people don’t
become obsessed with that idea, at least not as early as I did. By
the end of my childhood I was convinced that this was the case, and I
could play my part without ever revealing my true self.”
Misima Jukio: Confessions of a Mask
The mask hides and reveals, can connect and estrange. Roleplaying
and
maskwearing
as an important social tool and simulation as an estranging
phenomenon also define our everyday lives. In my masterpiece, I work on
my own masks and my own roles. What are my inner layers? What impressions
do I create or want to create in others? I present two layers, masks, on
the body, they are connected, they contrast with each other and in different
ways they hide or cover the body, they carry the imprints of the body and,
in a deeper sense, of the personality, of the traits.
The top layer carries the first impressions and the roles that are louder and
easier to hide behind. I have collected memories, photographs, drawings,
from different points in my life, and I have conflated these images to create
patterns that express the first insight, where you can only feel someone’s
personality. These patterns form and predict the shaping of the top layer. In
shaping the forms, I pay attention to the fact that in some places the pattern
creates the space, defines a particular relief, and in others I attach to it by
tailoring or stiffening the different forms, thus reinforcing the vision. These
shapes form envelopes, covering the body, protecting it, distorting it.
The bottom layer expresses another part of me, which is more sensitive, deeper,
quieter. This layer is closer to the body, it carries its imprints, it carries
the wounds, the fossilized memories, the pains, the deposits. For my patterns
I have made for this, I have merged body shapes. I use a sparsely woven caterpillar
silk with a foam pressed between the fibres to form a harder surface,
which I use to shape the pattern, and also to join the two layers together.
I shape how much the layer covers up the body by destroying the fabric.
As with the top layer, the shape is decomposed, expressing a process of opening
and hiding.
Spring 2023
supervised by Edit Szűcs, Nagy Fruzsina
Photos by Vivien Farkas
become obsessed with that idea, at least not as early as I did. By
the end of my childhood I was convinced that this was the case, and I
could play my part without ever revealing my true self.”
Misima Jukio: Confessions of a Mask
The mask hides and reveals, can connect and estrange. Roleplaying
and
maskwearing
as an important social tool and simulation as an estranging
phenomenon also define our everyday lives. In my masterpiece, I work on
my own masks and my own roles. What are my inner layers? What impressions
do I create or want to create in others? I present two layers, masks, on
the body, they are connected, they contrast with each other and in different
ways they hide or cover the body, they carry the imprints of the body and,
in a deeper sense, of the personality, of the traits.
The top layer carries the first impressions and the roles that are louder and
easier to hide behind. I have collected memories, photographs, drawings,
from different points in my life, and I have conflated these images to create
patterns that express the first insight, where you can only feel someone’s
personality. These patterns form and predict the shaping of the top layer. In
shaping the forms, I pay attention to the fact that in some places the pattern
creates the space, defines a particular relief, and in others I attach to it by
tailoring or stiffening the different forms, thus reinforcing the vision. These
shapes form envelopes, covering the body, protecting it, distorting it.
The bottom layer expresses another part of me, which is more sensitive, deeper,
quieter. This layer is closer to the body, it carries its imprints, it carries
the wounds, the fossilized memories, the pains, the deposits. For my patterns
I have made for this, I have merged body shapes. I use a sparsely woven caterpillar
silk with a foam pressed between the fibres to form a harder surface,
which I use to shape the pattern, and also to join the two layers together.
I shape how much the layer covers up the body by destroying the fabric.
As with the top layer, the shape is decomposed, expressing a process of opening
and hiding.
Spring 2023
supervised by Edit Szűcs, Nagy Fruzsina
Photos by Vivien Farkas
