{"id":2474,"date":"2016-03-27T12:06:13","date_gmt":"2016-03-27T16:06:13","guid":{"rendered":"https:\/\/mjsymuleski.com\/artofthemooc\/?p=2474"},"modified":"2016-03-27T12:06:13","modified_gmt":"2016-03-27T16:06:13","slug":"soundsuits","status":"publish","type":"post","link":"https:\/\/mjsymuleski.com\/artofthemooc\/soundsuits\/","title":{"rendered":"Soundsuits"},"content":{"rendered":"

In the first of several creations, American artist Nick Cave constructed a full body suit of small found twigs as a response to Rodney King\u2019s beating. The once-strewn twigs fell in line with the black male identity: disregarded and degraded. The rustling sounds of the twig-suit when worn led Cave to the creation of future Soundsuits<\/em>. Since the first, Cave\u2019s Soundsuits<\/em> have become increasingly ornate in details and vibrant in color. The visual element of his work draws upon African art and New Orleans\u2019 Mardi Gras influences. While museums display the Soundsuits<\/em> on mannequins, some of the intensely ornate, body-cloaking costumes are meant to be worn. In fact, Cave\u2019s background as a trained dancer requires the presentation of these works in a new light: a performative one. The work derives its name from the sound produced when the suits are worn, often as a part of choreographed dances presented or projected in the gallery spaces.\u00a0In an interview with the St. Louis Dispatch<\/em>, Cave explains, \u201cIt takes time to establish a relationship with a piece\u2026It\u2019s about the shedding of the existing being. I\u2019m interested in spirit and myth, and the space around the body.\u201d<\/a><\/p>\n