WEBVTT

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STEPHANIE SYJUCO EM

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ARTE NO SÉCULO 21

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RICHMOND, CALIFÓRNIA

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Tenho uma bagagem
bastante tradicional com a escultura,

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no sentido de que passei quatro anos
na escola de arte

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apenas fazendo coisas, literalmente.

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Digo, fazer algo à mão significa
que você vai processar aquilo.

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A coisa vem à sua cabeça,
passa pelo seu corpo,

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e, então, é trazida ao mundo.

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[máquina de costura em funcionamento]

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Tenho interesse no modo como os objetos
refletem momentos culturais.

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E penso que eu esteja tentando descobrir
por que valorizamos o que valorizamos.

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Então, com
o "Projeto de Falsificação em Crochê",

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eu convidei artesãos de crochê
de várias partes do mundo

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para se unirem a mim na empreitada
de piratear bolsas de design exclusivo.

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Pedi que escolhessem uma bolsa de grife
que gostariam de ter,

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mas que não pudessem pagar, que baixassem
uma imagem dela da internet,

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e, então, usando suas habilidades
com o crochê, que a fizessem à mão.

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E, curiosamente, isso provocou as pessoas,
de modo que muitas delas participaram

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e depois me mandavam fotos usando
as bolsas que fizeram.

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Foi divertido e descontraído, mas
isso, sem dúvida, acabaria nos levando

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a discussões maravilhosas sobre tudo
nessa hierarquia no sistema da moda

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até os esquemas globais
de falsificação.

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Acho que um dos motivos do meu interesse
na pirataria, ou na imitação,

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é, na verdade, uma extensão dessa ideia
de que existe algo que seja autêntico.

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E, falando de uma perspectiva pessoal,
estava muito curiosa para saber

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o que seria um filipino autêntico.

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Estava pensando bastante

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sobre fotografia
histórica etnográfica.

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Especificamente sobre imagens
que vi que foram tiradas nas Filipinas.

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