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Sibyl Montague

Hand Held (Snake)2020

Hand Held (Snake) explores our need for intimacy, care and nurturing alongside our complex relationship with commodity culture and fast fashion. Snakes hang from the ceiling disconnected from their source and in a fast fashion skin. The snake, as a Celtic symbol for rebirth, healing, and wisdom, was understood to came from inside of the earth, holding the world’s secrets and wisdom, an earth healer. In time the snake became a Christian symbol for the devil and paganism, often depicted under the foot of the Virgin Mary.
Text source: https://www.visualcarlow.ie/exhibitions/info/self-soothers

MediumRe-assembled snake print items sourced from fast fashion cycles SS 2019, AW 2019, SS 2020 (Ireland) Textile, foam, pvc overflow pipe, hemp cord.(approx 3-5 parts per snake)
Item NumberIMMA.4176
Not on view
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Sibyl Montague, Hand Held (Snake), 2020, Re-assembled snake print items sourced from fast fashion cycles SS 2019, AW 2019, SS 2020 (Ireland) Textile, foam, pvc overflow pipe, hemp cord.(approx 3-5 parts per snake), Collection Irish Museum of Modern Art, 2020

For copyright information, please contact the IMMA Collections team: [email protected].

About the Artist

Sibyl Montague

Sibyl Montague's (Dublin, Ireland) practice includes sculpture, video and installation. A graduate of Chelsea College of Art and Design, London, Montague was artist in residence at Visual Contemporary, Carlow (2020) and recipient of the IMMA 1000 residency award at the Irish Museum of Modern Art, Dublin (2019). Recent solo presentations include SELF SOOTHERS, Visual Contemporary, Carlow (2020); Practice curated by Alice Butler, New Spaces, Derry (2018); Saplings, Pallas Projects, Dublin (2018); My Fears of Tomorrow are Melting Away, Cité Internationale des Arts, Paris (2018). Montague is co-founder of PLASTIK Festival of Artists’ Moving Image. Montague's practice explores concerns of form, usability, and the handheld, making work that considers how we regard, hold, and consume objects and experiences. Her work uses a wide range of sources that combine vegetable, used or ‘poor’ material, with the hacking and (dis)assemblage of commodity goods. Presented as 'tools' or series of sculptural objects of use, her work foregrounds the handheld and handmade as generative, dissident terms from which to approach material, making work that seeks to understand our relationship to objects as physical, but flawed representations of inner experience.
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