Transformation is achieved by the creation of a wild skin using the repetitive, domestic act of sewing. In development of this work I am interested in playing with traditional hierarchies of man vs. woman, human vs. animal, and domestic vs. wild. Drawing parallels with the Levini Sister’s story, my performance uses a traditionally female creative processes, to undo expected feminine roles.
This performance is a culmination of my current sculptural practice and previous performance work using the wild woman archetype. Wild woman acts as a messenger between our human-centred lives and the natural world. In my sculptural work I reclaim animal pelts and skins from luxury fashion items, to make a series of precious objects that reframe the animal from commercial object to spiritual subject.
Klara Kelvy holds a Bachelor of Fine Art (Honours) from the Victorian College of the Arts, University of Melbourne (2009), where she majored in Sculpture and Spatial Practices. Kelvy’s creative focus has been on contemporary performance, returning to focus on sculpture in April 2016. Her current practice is concerned with reconnecting humanity into the ecosystem. In November 2016 she was an artist in residence for Toolangi Sculpture Trail 20th Anniversary. Solo performance projects have included I Like Herring Island and Herring Island Likes Me, Herring Island (2015); Dances With Woodwose, Arts House, Melbourne Fringe Festival (2014); Three Performances: Fight, Hold, Clean, Rubicon (2013); and I want to feel what you are feeling, Kings (2011) (all Melbourne). Kelvy has also performed regularly in the work of other local and international artists, including Training Ground by Public Movement (Israel) for ACCA in The City, Melbourne; Project 30, by Marina Abramovic (USA), Kaldor Public Art Projects, Sydney (2015); Porous Space: Simultaneous Event by Andrew Treloar, West Space (2015); Geodesic Envelopes by Melanie Irwin at West Space (2015), Heide Museum of Art (2014) and VCA Masters Graduate Exhibition (2013); Yolo Wallpaper, by Marvin Gaye Chetwynd, Campbelltown Arts Centre, Sydney (2014); and Piecework by Kay Abude, Linden Centre for Contemporary Arts, Melbourne (2014).