fight pain, anxiety and fear every day, and the only method I have found that relieves my illness is to keep creating art,’

It is especially true for artists who wear clothing as part of performance, and for those who make clothing as part of their practice. This mode of working is incredibly new, in the context of the millennia of mark-making.

This is my way of being. I am suspicious of what is overtly clean. Clothing is there to be used. Garments are a testament to what has been done in them.

‘I’m fascinated by how material culture is used to express ideas of the immaterial,’ he said. ‘I’ve been reading how, in some religions, the material world is said to represent what is apparent, but not real. What is real is said to lie beyond the materiality of the world itself. But in order to express this, we use the material world. Clothing

Queer male members of the aristocracy, or other privileged backgrounds, could find ways to live above society and defy the law. Working-class men were fetishized, their bodies toned by labour. Their jobs and their clothing became eroticized, fantasies that still continue today: the farm hand, the mechanic, the handyman.

when we talk about the relationship between fashion and art, what we’re really talking about is two industries coming together in search of profit.

‘If I had not found that path, I am sure I would have

Clothes had carried the weight of her abandonment, grief, pain, sense of failure. Through her life, garments had first been decorative, then dutiful. At the end of her life, clothing was a release.

‘I am a Black Artist’, captioning it: ‘I am a BLACK ARTIST because being black in all its complexities has shaped my imagination and my art responds to that always.’