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150 knot, Free-form
Select areas made with 3 & 8 mm (lips) pile height
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Born in Liverpool, UK
Lives and works in St. Ives, UK
For Henzel Studio, LINDER re-appropriated her piece “Linderama” by adding a cutout silhouette with elevated and glossy silk-enhanced lips to emphasize the notion of collage.
- Limited edition and numbered, accompanied by a Certificate of Authenticity.
- One of a kind and unique in its details, reflected through slight artisanal variations in color and design.
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Linder, a prominent figure in the punk and post-punk Manchester music scene, is one of the most influential artists shaping the visual manifesto of an artistic movement that rejected the social and political trajectory, out of which came bands like The Fall, Joy Division, the Buzzcocks, Magazine and The Smiths.
Her 30-year body of work of collages and photomontages is created with a methodology much in common with the subversive practices of the times: Ripping things apart and reassembling them as a way of showing the counterfeit quality and construction of any social image through juxtapositions that normally remain indistinct. A feminist artist, a fundamental characteristic in her work is its arresting impact. Her collages are composed of elements that previously possessed a matter-of-fact significance, evoking a disturbing impression of familiarity – even more so by appropriating the very aesthetic of the glossy magazines she sources from. The iconography heightens this feeling, as it refers to standardized imagery as reflected in consumer society. Objects of the claustrophobic domestic universe and beyond are brought into contact with pornography, photographs of household objects, machines, cakes, animals or flowers – to name only a few – are intersected with images of nude women, enhancing their objectification as sexualized bodies. She famously designed the single cover for Orgasm Addict by the Buzzocks (1977), showing a naked woman with an iron for a head and grinning mouths instead of nipples.
In addition to her work with collages, she has applied her assemblage tactics to photography, her own portraiture, collaborations and performances, taking possession of their various manifestations either independently or simultaneously.
“I try to short circuit the electrical charge of the images that I use, and sometimes it is necessary to intensify the erotic charge so that this happens.”