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Plushy Fables and Horror Figures
Digital techniques and creatures from computer games are central to many of Mary-Audrey Ramirez’s (b. Luxembourg, 1990; lives and works in Berlin) works. A six-legged horse, monstrous tentacled organisms, a flock of crows nailed to the wall with golden arrows– Ramirez transfers the meta-reality of the online roleplaying universe into the tactile reality of the gallery space. Her figures are born on a sewing machine: in a process reminiscent of ecriture automatique, she sews them without relying on preparatory sketches. Her creations invariably toy with symbolisms or social distinctions and are open to a wide range of interpretations. The artist moreover integrates sound collages, performances, and homemade videogames into her installations, resulting in an interactive arrangement that solicits the visitors’ engagement.
The book XOXO Winter Is Coming is the first to offer extensive insight into Ramirez’s practice and presents works from the past four years. With essays by Kate Brown, Leonie Pfennig, and Oliver Zybok.
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Plushy Fables and Horror Figures
Digital techniques and creatures from computer games are central to many of Mary-Audrey Ramirez’s (b. Luxembourg, 1990; lives and works in Berlin) works. A six-legged horse, monstrous tentacled organisms, a flock of crows nailed to the wall with golden arrows– Ramirez transfers the meta-reality of the online roleplaying universe into the tactile reality of the gallery space. Her figures are born on a sewing machine: in a process reminiscent of ecriture automatique, she sews them without relying on preparatory sketches. Her creations invariably toy with symbolisms or social distinctions and are open to a wide range of interpretations. The artist moreover integrates sound collages, performances, and homemade videogames into her installations, resulting in an interactive arrangement that solicits the visitors’ engagement.
The book XOXO Winter Is Coming is the first to offer extensive insight into Ramirez’s practice and presents works from the past four years. With essays by Kate Brown, Leonie Pfennig, and Oliver Zybok.