Created by
Sinead
LA- Z –GIRL CHAIR by Welding_princess403 in Calgary
LA- Z –GIRL CHAIR
This LA- Z –GIRL chair covered in bras of multiple styles and sizes is a tribute to the everyday multitasking woman. It is inspired by challenging the 1950s notion of the feminine role as housewife while the man worked out of the house ultimately filling the role as the breadwinner. The commercially branded furniture, LA- Z –BOY is symbolic of this conception in that the chair is reserved for the hardworking man of house to sit and relax after a long day’s work. Women were expected to cater to their family, maintain household duties filling the roles of mother, wife and housekeeper, among other domestic chores. This idea has encouraged me to question what women’s work really is and how society has constructed gender roles to dictate our characteristics, motivations and what expected of us. Today we see a transformation in many occupations that were once male dominated. Occupations in, for example, business, medicine, and welding are currently very popular for women and in the case of medical students women actually out number men. Like the bras that have been donated to make this piece, old, worn out and tired are these notions of the past as it is evident that women are capable of accomplishing numerous endeavors inside and outside of the home fulfilling a variety of roles simultaneously.
Meet the Artist
Meet the Artist
Calgary, CanadaAs one of the youngest female Canadian sculptors working with welded public art, Sinéad Ludwig-Burgess continues to create surreal artworks that question the viewers’ notion on space and the human body. By using the body as a metaphor, the form is capable of communicating a wide range of emotions and universal truths at the core of the human experience. Sinéad Ludwig-Burgess has always been fascinated with the miracle of the human body and is curious as to how the mind influences the body to create healing mechanisms to transform the entire self. Acting as an allegory for a body that has overcome adversity, Ludwig-Burgess creates dynamic figures that communicate the visible and the invisible language of human emotions. Sinéad believes human evolution can be reflected through the processes of manipulating steel. The traditional idea of the physical and mental self as a stable and infinitely whole form has eroded. The figure in visual culture cannot be stable, or entirely fragmented, but is always being renewed and reproduced in an exchange between the symbol, the body of the viewer, and the body of the artist. The focus of Sinéad Ludwig-Burgess’ studio practice in using the human body is to articulate various states of emotions in the viewer. What is meant to be evoked is the concept of our dismembered integrity, as what was once considered an infinitely whole form is eroded by the negativity in our environment.
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