STALKING HER LOVERS, DRESSED TO KILL, AND NOT A THOT FOR ME.
This collection takes its inspiration from a hypothetical conversation between Rahab and Gomer, two complex Biblical women who both engaged in sex work. Their shared investments in strategic agency, cultural mobility and risk management resulted in vastly different personal denouements, and this presentation seeks to explore the aesthetics of this contrast. Stylized abjection, shiny femme-ininity and archival restoration play central roles in this meditation on thots, futurity and grace.
Mic. Carter is a textile-based sculptor, whose primary interest is in exploring fashion’s relationship with post-human embodiment. In addition to design, he is also an accomplished educator, who uses art as a pedagogical moment for pushing the boundaries of how knowledge is produced or disseminated in everyday life. More specifically, Mic. believes that fashion-art is a tool of transcendence, one that has the ability to communicate, question and most interestingly, transgress beauty. This power of art to resist and redefine the tenets of aestheticism is what he finds most inspiring, particularly in fashion. Art movements/creators that actively seek to utilize these poetics of bafflement, disgust and shock are the ones that Mic. finds most attractive; the abject consistently challenges him to re-engage and push forward his understanding of art and desire (or lack thereof), especially in relation to the body. For Mic., the frame in which these creative investigations are set is heavily influenced by blackness, gender/queerness, and urban deterioration, the spaces in which he inhabits; his project themes, material and aesthetic choices reflect the Othered nature of these cultures.