Wickerham & Lomax installation on sight at Masion Margiela flagship

Starting Thursday, works of art created by the artistic collaboration Wickerham & Lomax will be on display at Maison Margiela’s Crosby Street in Soho, New York.

The Baltimore-based duo began working together in 2009 creating works that speak of identity, subculture, marginality and connectivity to disrupt what is usually seen in art. Working in mediums such as digital imagery, sculpture, CGI, video, and the web, the collaborative does not stray from exploring and deepening its use of new technologies to create. Known for their chaotic yet intimate compositions, Wickerham & Lomax compliment the Maison Margiela mentality and the fashion house’s desire to deconstruct what is known to give birth to something new.

The series of works revolves around representations of bags ranging from a simple everyday tote to a luxury handbag. The UV mirror prints, housed in handmade wooden frames, using metal handles to refer to the bags themselves, are each named after a closed gay bar in the artists’ hometown of Baltimore.

Before the installation opens to the public, RC spoke to the Wickerham & Lomax duo about the work and association with Maison Margiela.

Margiela House


CR: Tell me about the collaboration process with Maison Margiela, how did this collaboration process go?

Daniel: “Yeah. Uh, I wish we had a really fun story about it. Malcolm, how did it start?”

Malcolm: “Our gallery owner in DC kind of suggested that we do a project for them in their flagship product. Daniel and I had created these images for Artforum. And we somehow wanted to materialize them. were in print before, and a lot of our practice is translating these things into a printed thing, an object-based thing. So once we had this project with Margiela, we had some ideas to try it out on different kinds of surfaces and mirrors and build these specialized frames for them. And to find these frames, a lot of it was trying to take something like craft codes and stuff that they use in their own. creation process. They use a lot of reused stuff. And so in the frames, we bought a bunch of things and kind of reassembled them in a way that they all merged together, but they just kinda came together. They haven’t all sort of, you know, kept their own identities. “

Daniel: “Yes. I think Margiela has always been, you know, for a decade, has always been very important to our practice. We kind of understood how he thought of clothes, how he thought of the representation of a garment in a physical garment. And it sort of sounded like our thinking about pictures, turning into objects, and how we make things. So we were excited to discover the potential of collaboration because it had been sort of inside our thinking for so long in practice already. So it was very exciting. “

CR: In Ursula K. Le Guin’s essay “The Fictional Carrying Bag Theory” that helped inspire this series of works, she defines a lot of things as bags ranging from books to bags. houses – what is your definition of the bag?

Malcolm: “Oh, that’s an interesting question. The counterfeit wallet is something we’ve been thinking about for a long time. It’s kind of an interesting representation of brands like Balenciaga or in this case we’ll take Margiela. The counterfeit handbags would be a representation and not really the real thing, but it’s a real item that people buy and use. We also like the file folder. Like the file on the computer and that kind of stuff. swap between having to put your things in a real folder on a computer, but you don’t really need to do that. When I think of a bag it’s like that kind of swap or back and forth where it becomes both a representation and a thing. “

Daniel: “Yeah. I mean, there’s that line in the original, in the kind of proposition a long time ago, it was like” the container was man’s first invention. “And you could think of the handbag as one of our first inventions as kind of a smaller thing, and then the house being sort of the bigger thing. Always a little upside down, and you still can. be on the outside of the clothes depending on how they are sewn on the inside. handed over to dig sites that might be gay bars. So you have that kind of handbag rendering in there. ‘upside down. And I always thought it looks a lot like the Margiela label. A clear handbag that we’ve been interested in for a long time. And it’s just kind of a portrait of the person, you know, the way a Desktop computer can be a snapshot of his life or something. Our definition of a bag is to secure it. “

CR: In a way, Le Guin could define art as a bag. What is inside this series of works?

Malcom: “It’s funny because I was thinking about what Daniel was saying about a bag that’s clear because it’s kind of a supervised version of the x-ray. And we’ve been through the airport so much. is the only thing I can kind of think of. Let me see my version of an art, art bag. I agree with Dan. Secure, that would be a great answer. “

CR: When you create such dense compositions, do you have any idea what a piece will look like before you start working on it, or is your process more additive?

Daniel: “I think Malcolm and I are working pretty much the opposite. Malcolm plans everything, then executes his plan. working with mirrors was great because it allowed the image to be removed without some kind of a void, you know. I mean, because the materiality of the mirror like this illusion comes back to it or space comes back to it, but I don’t know. What do you think Malcolm? “

Malcom: “At the beginning there is a lot of conversation. But then I’m going to suggest some things that need to be addressed, some things have to be kind of composition. And then there’s like a sort of process of building up. pictures and we send pictures to each other. Not the ones we build, but we kind of use reference pictures. And then I draw for a long time. Dan, you sort of draw for a long time. “

Daniel: “Yeah.”

Malcolm: “And then we left them devastated to do it. And it’s never enough, so we load things up so much and then we start pulling things out. But it’s a pretty additive process, but now it becomes “refine more, get my stuff out, shrink it down. The new projects we’ve been working on too are really subtractive because of the mirror, more controlled relationship with the subject. “

CR: What were the elements taken into account when setting up this installation in a commercial space?

Daniel: “This art can finally become decoration.

Malcom: “Also, it’s a kind of unusable utility. Like it’s mirrors that don’t really perform well for what you would use a mirror for in a retail space, but they’re still there. “

Daniel: “Yes, it was also such a fun process because the work had been done for impressions. Margiela. And it reminded me so much when we did this show at Artist Space in 2011. It was based on three Margiela jackets that he sent out on the runway in 2008, I think. Which is like an old jacket, a print of that jacket, and then a molding of the jacket that was open in the back. It’s like a process that always interests us so much. The thing which is a representation of the thing, which we have touched on a bunch. The way this job was done was sort of the first time we were able to reuse a pre-existing thing and retool it instead of having to build something from scratch when Margiela called. It was really appropriate. I thought it was working fine. “

The installation will be on display to the public in the Maison Margiela boutique on Crosby Street in New York City from October 28 to January 7.

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