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Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023
Isabel Fletcher, Satin Overlap, 2023

Isabel Fletcher

Satin Overlap, 2023
Suspended ballet shoe offcuts with hand stitch.
180 x 160 x 20 cm
70 7/8 x 63 x 7 7/8 in
CF1228
Copyright The Artist
£ 1,870.00
Isabel Fletcher, Satin Overlap, 2023
Sold
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Further images

  • (View a larger image of thumbnail 1 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 2 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 3 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 4 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 5 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 6 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 7 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 8 ) Jacy Wall, Blue Favour, 2023
  • (View a larger image of thumbnail 9 ) Jacy Wall, Blue Favour, 2023
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Satin Overlap is the result of a project that Isabel Fletcher carried out with Freed of London. The project was led by the sourcing of production offcuts from the ballet...
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Satin Overlap is the result of a project that Isabel Fletcher carried out with Freed of London. The project was led by the sourcing of production offcuts from the ballet and theatrical shoe manufacturer, Freed of London. When visiting the workshop for the first time, Isabel was struck by the contrast between the well-worn nature of the workshop and the gleaming beauty of the finished dance shoes. The maker of each component at Freed has perfected their craft - their bodies adapted and moulded to the rhythm of the repetitive processes. The offcuts themselves retain traces of this craft, each leftover scrap contributing to a silhouette of the making process.

Combining her workshop observations with the offcuts, she transformed the otherwise wasted remnants into ambiguous sculptural forms, each showcasing a different offcut type. She employed processes of cutting, layering, piecing, stitching, draping and gathering to manipulate or enhance the innate shapes, forms and properties presented by the offcuts. She used stitch as her primary method of construction and mark-making as she joined the fragmented materials and highlighted the negative space within the offcuts. Blue, red and yellow threads were used to reference the industrial colours within the Freed workshop. The expanded forms which emerge from the suspended pieces are designed to encourage questioning of materials and processes and a reassessment of consumption.
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Selected Exhibitions
20 Years of Cavaliero Finn 2024 - Stockwell Studio
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