“Lipstick-coloured or covered in fluffy fake fur, have been considered chic yet mundane messengers from the world of women’s accessories: a universe where disco balls revolve in place of planets.”

“spoilt fashion victims: redemption through consumption of exclusive luxury items.”

“With the walls covered in pastel coloured bird’s-eye views, the rooms became chapels for earlier works such as Gucci Shoes (1998)”

“a body of work that would draw on elements from both twentieth-century art and consumer society.”


“I’ve always used female paraphernalia, but make-up immediately gives my work a touch of desire.” — desire toward commodities

some works “subverting a stereotypical symbol of masculinity.” Spraying painting cars with nail varnish.


Image 4:
Posters and side table sized sculptures and the domestic craze of ornamental neon lighting creating a teen bedroom or shopping mall mannequin changing rooms. – creating an installation based environment. Wish there was a rug and some complementary taste testers… vegan banana loaf yes please. wine and dine me. or shall I say health shot and refined sugar free, vegan treat me or matcha latte and sweet potato brownie bites. Thanks v much.

Could this prompt larger, subversive, experiential works- recreating our consumer environments, billboards, advertisment or perhaps an alternative. Perhaps the ‘bubble’s’ in which we enter as we leave our ‘home’ selves to integrate in to our ‘other selves’, our social, perhaps ingenue or retrained self. Do you have more than one self? and who do we know you as? Does your consumption or digital engagement shift or influence who you are, strive to be or was? Can we regrets our online selves and how would they differ for most reality.

I am interested in the self as a human culture but also have become so aware of a, perhaps learnt condition, of inner conflict. I want to shop, buy, throw away and genuinely own new, nice, shiny, quirky things- our purchased commodities, objects and ‘stuff’ we surround ourselves with, allow an outlet to express or supress who we are, want to be, or in fact should be. But this learnt, mimicked and championed way of consumption is in conflict. Contrasting to the ethical and moral high ground, which I too live sporadically… the rewarding way of living minimally, sustainably and environmentally and economically friendly. The lure or desire to conform and part take in the oh so appealing consumer inflation is the ‘norm’ and hard to detach. But what do these characteristics and human behaviour show, carry through or influence our connection, creation and consumption of contemporary art?

(perhaps a detour there but a moment to ponder the modern routine).

Sylvie begins to manipulate and alter our views on the objects we interact with in our daily lives. “Making readymade compositions, such as the aforementioned cars or make-up palettes, tampering with them and transforming them into artworks, allowing audiences to view these objects in an entirely different light.” not just a generic consumer good. This innovation should be found again as was utilised in the pre-industiralized, manufactured world. A costume of Bricolage and value on materials and objects has been forgotten or buried. Perhaps a future idea or works using the ‘readymade’- manipulation of actual products rather than purchased ‘fill ins’, ‘Stand ins’ etc. i.e the real ‘authentic’ thing, a Cath K bag or the leather sofa, floral wall paper and china for which a banana loaf may rest. 
In working in the way, Sylvie prompts questions about luxurious commodities, advertising and consumption – especially the desire to shop.
"Right now, Sylvie is particularly curious about the way in which we create and exchange images on social media platforms such as Instagram. “I often wonder where we are going with it all,” she says. "... virtually anyone can become a beauty influencer. I feel fairly optimistic about that". 
The association with ‘optimism’ and perhaps an interesting positive, a world wide enlightenment of opportunity, but just don't get too sucked in you loose the now. 



April Rose Jackson