SABRINA CAPISTA
The photograph Shivatose Abe will be an element of I, Ixora, a forthcoming work in Andil Gosine’s exhibition Nature’s Wild, opening March 27, 2024, at the Art Museum of the Americas. In this text, artist-writer Sabrina Capista reflects on the piece, in a preview of PREE’s engagement with the exhibition over the next few months.
Armed and dangerous, artist Andil Gosine sits front and center, draped in patterned garments and surrounded by stacks of clothing. Sixteen hands fan out, each one clinging to a different product. At first glance, the subject appears to be juggling an overabundance of things, all seemingly mundane, everyday items. The props in this photograph share a connection in that they are all made by Japanese designer, Chitose Abe of Sacai. With this project Gosine admits to a weakness: his obsessive consumption of Sacai pieces. What began with an affinity for Commedes Garcons, the brand under which Chitose Abe previously worked, has flourished as he now contemplates his excessive collection of her pieces.
Inspiration for this portrait comes from Ixora, an 18th-century engraving by European engraver Bernard Picart, from the influential text “Ceremonies and Religious Customs of the Known World.” Illustrating the Hindu deity Shiva, often represented with four arms, this exaggerated interpretation portrays the god with sixteen arms holding various tools, only some of which seem benign. In the Hindu tradition, Shiva is seen as both the destroyer and restorer. The multi-limbed god holds objects representing various aspects of his power, some that signify creation, and others, symbols of destruction. With this portrait titled Shivatose Abe, Gosine parallels this deity and perhaps its duality, representing both the destructive and restorative effects of overconsumption.
As someone who worked in the fashion industry before transitioning to doing research and making art concerning environmental spirituality and psychology, the destructive side seems quite obvious. With the ongoing, detrimental impact the fashion industry has on our environment, questioning our consumption habits becomes something of a moral dilemma. We know that the overconsumption of fast fashion garments is an incredible source of pollution and produces an exorbitant amount of waste which extends to even the most luxurious designer brands. Regardless of the brand, the textile industry depletes natural resources, contributes to water pollution, and increases the planet’s carbon footprint every step of the way from production to transportation. On top of that, many of these factories employ exploitative labour practices, adding another layer of danger and damage while skewing consumer perceptions of the true cost of clothing.
Despite a 2020 interview for Vogue Singapore where Chitose speaks on the importance of sustainability at Sacai, there is little evidence of any sustainable practices in place within the company. High-price point designer brands usually fall back on the concept of small batch collections, prioritizing quality and wearability, with the perception that long-lasting pieces are inherently sustainable. There comes a point however, when the integrity of this statement must be called into question, especially when goods are manufactured and branded with little or no artistic innovation.
Shivatose Abe’s hands hold objects such as coffee filters and mugs, an umbrella, and a stuffed animal, to name just a few. Juggling such items in this way reflects the abundance of “stuff” promoted by this industry. These are the types of objects that despite being functional, end up unused, pawned off to second-hand shops, or thrown in a landfill because there is rarely sentimental value in them, yet people continue buying them because of the brand affiliation. The marketing of these items, paired with various brand collaborations and limited-edition collections often emphasizes exclusivity and high status rather than genuine function and sustainability. Even high-quality, luxury items can contribute to the overarching problem of overconsumption when consumers continue to purchase new things as opposed to taking care of what they already have. This is a massive mindset shift I believe is required on a collective level. As consumers, we face the challenge of balancing our desire for shiny, new things with the responsibility to make more sustainable and ethically conscious decisions.
When it comes to clothing, there are so many factors that influence people to buy; what we choose to buy says a lot about us. Clothing is a powerful tool for self-expression, allowing individuals not only to communicate their style and sometimes their beliefs about the world but also connecting them to others. Clothing can also become a shield for many, concealing insecurities or identities and allowing individuals to mask who they are to conform more easily to societal expectations. It is no secret that shopping is frequently used as a tool to combat emotions and help people escape their reality.
With unconscious consumption often used to fill voids caused by loneliness or lack, I wonder if there is more to it when the buying behavior is strategic and specific instead of mindless. What does it mean to be so loyal to the creative vision of a designer or artist that you feel unable to control your impulse to own their pieces? A perfect outcome of capitalism and a dream scenario for artists, it is not the most damaging habit to have in the context of overconsumption. I think any behaviour that feels out of one’s control is worth looking into more deeply but, is there not redemption to be found when such overconsumption leads to a curated collection of sorts?
There is something to be said for how obsessions can foster a sense of belonging, as can be seen in fan clubs for musicians and artists. The community aspect formed from shared interests allows people to feel validated and less alone in their experience. Perhaps niche obsessions could lead to identity development, helping people connect to others although any obsession can veer into unhealthy territory, depending on how it affects individuals and/or the health of our environment.
In presenting himself as Ixora, Shivatose Abe demonstrates the polarizing results of fashion consumption. While Ixora is armed with tools of destruction like fire and healing musical instruments, Shivatose holds items and accessories that create damaging impacts on the environment, while also potentially acting as a catalyst for developing one’s identity and sense of belonging in the world. As humans, we are constantly teetering on the line between personal and collective benefit and this is reflected in overconsumption, particularly within the fashion industry. On the one hand, it may foster creative expression and a sense of belonging, on the other, it may perpetuate toxic habits leading to environmental degradation. With Shivatose Abe, Andil invites us to reflect on our habits of consumption by queering the fine line between satisfying material desires and recognizing our responsibility toward the collective good and future of our planet. This photo portrait challenges us to consider whether our loyalty to certain brands and designers is worth the environmental cost and whether we can find a way to indulge in our pleasures and passions more sustainably and intentionally.
