FLESHION
Fleshion is a term invented to describe the invisible interaction between fashion and the flesh (body) and the way they constantly affect each other. Fashion (as a mode of operation or action) with its material qualities _ shape, volume,texture, color, etc. interacts with the body through perception as well as by affecting its attitude, environment, performance, behavior, social, polit
ical and cultural codes, and vice versa. As an example of how fashion and body can be powerful agents of changes, take the burning of bras and the wearing of written slogan on T-Shirts at the beginning of Feminist movement. This action did not only have a surface effect. It changed women postures, gestures and released their body towards new experiences. Not only as liberation but also supporting all process of idealization of women’s body : chinese's small feet, known as foot binding, as Africans and Asians neck’s ring usage, ballerina’s pointe shoes and its performance and so on. Fleshion is a drive of a long-term research under the name of Archeology of Desire. It involves a number of collaborators and deals with notions of archeology, time, desire, body and fashion (in the sense of modes of something or in a particular way or style). Speculates some ideological projections about the appearance of the female body as restraints and releases, their poetics and politics in an irregular and imprecise timeline. It is presented as a type of dance to draw _tempo and intensities to be captured on a piece of paper or by thought. Is composed of "appearances" or "apparitions" arising from the relationship between body and fashion, its intimate friction. From the surface of the skin in contact with sorts of materialities. And of the various qualities that distinguish the surface of the solids - rough, smooth, hard, soft and soft; the latter concentrates the idea that Aristotle developed about human flesh, "the softest of all animals," "the one that is ready to come apart." And considering the body as an "archaeological site" of specific materiality, as a collection of unknown possibilities and distinct temporalities of desire. Taking it as a fictional ignition to activate memories and generate a game between self-images and distorted mirrors, perverse projections and effects in time. Fleshion navigates by poetics and politics of appearances and deals with touching as an ignition for abstraction as an attempt to develop an aesthetics of touch.
