The large-scale crocheted works from Šejla Kamerić’s ongoing Hooked series are characteristic of the artist’s conceptual practice, in which she examines the politics of memory, the … Read More
The large-scale crocheted works from Šejla Kamerić’s ongoing Hooked series are characteristic of the artist’s conceptual practice, in which she examines the politics of memory, the language of oppression and forms of resistance. The handwoven textiles share an uncanny resemblance with an essential element of traditional bridal dowries in the Balkan region: the doily. With these oversized doilies, Kamerić comments on histories of female innovativeness, finding chaste forms of creativity in realms of female servitude.
In mythology, stories of weaving often become acts of resistance: from Minerva, the Roman goddess of history, to Philomela, a woman who, having been raped and mutilated, seeks justice for the crimes committed against her. As the classical poet Ovid describes in the Metamorphoses, although Philomela’s tongue is cut out to silence her, she denounces her torturer by weaving the letters of his name.
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