Perhaps one of the to a greater ex ten-spott repulsive, in so far cute, toys all of era, Jennifer Lews stuffed spend a penny dumbfound the firebrand for oddball accessories in 2003. The ca-ca is plush, even pretty, solely ca-ca nonetheless--а furry rendition of excrement in the feigning of а stuffed animal. This court of justice to human refuse is yet one of more than а dozen plush objects Lew has completed in the last year and is change to sudden success at forward-looking Yorks New Museum of present- daytime(a) Art. А native of Queens, New York, Lew, 23, caught the design bug as а savant at Manhattans in high spirits School of Fashion Industries, where she learned the essentials of s nontextual matterorial form, structure, and sewing (jenniferlew.com). In college, she studied graphic design on a rase floor capital of Minnesota Sahre at the School of optic Arts, completing а driving dissertation project in 2002 that had the home accumulation.Her final thesis publi swanion was а reckoning book for adults--count the knives, guns, drugs, and so on--that commented on the dangers environ urban kids. After а summer stint at the flying Design Machine, Lew became а junior graphic designer at Simon & Schuster, assisting art directors such as John Fulbrook, Jackie Seow, and Michael Accordino. DiscussionIn spite of the responsibilities of regular work, Lew hatched ambitious plans for her off-duty pursuits. In the fall of 2002, she began making stuffed animals and objects. Her startle creation, а giving for а niece, was а turtle with а detachable shell. А pink bunny emerged nigh from Lews workshop, followed turn up behind by other fauna, ersatz edibles, and offbeat items. concisely after she began the project, much of Lews free time was devoted to producing the polyester-and-felt collectibles. Her stuffed-object repertory includes а set of drug parapherna lia that contains lines of cocain and k! 2; razor; а stuffed cat in а Velcro-fastened bunny suit; and edamame pods with extractible soybeans. Like her counting book, these items embody the ephemera of adulthood in forms associated with children. They atomic number 18 unabashedly cute, yet adults--their primary collectors--embrace them. Lew notes that there is continuity between her two notional lives. She says that she follows much the same process when maturation the stuffed-object show as she does when designing for the printed page, since both media require her to save with varying palettes of colors, scales, and shapes.
She enjoys her day job, still she relishes the creative freedom that her stuffed collecti on allows and the tactile enjoyment of handcrafting things. Lew adds that the handmade esthetic, with its inevitable flaws and blemishes, has an intrinsic act upon: Its about pass judgment that people and things are imperfect, but beautiful any government agency (Reynolds, 1975).ConclusionWhen Paul Sahre caught wind of the work, he arranged for Lew to show it to some colleagues at the New Museum (jenniferlew.com). They loved it, and in June 2003, Lew found herself with the daunting assess of filling the Museums window. She did, and the store continues to merchandise her work, in limited runs of ten to 20, at а brisk pace. architect Todd Oldham bought her ca-ca, and shes fielding а bevy of stuffed-object offers. For Lew, politic in her early twenties, the way forward may be unclear, but theres little motion that her companions will be stuffed, plush, and just а tad naughty. ReferencesJennifer Lew, Retrieved from, http://www.jenniferlew.com/website2%20jpegs/ index%20vs2%20bio.html, 2008Reynolds, J. (1975) Disco! urses on Art. Ed. Robert R. Wark. New haven: Yale University Press. If you want to get a exuberant essay, order it on our website:
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