Acceptable Taxidermy

Acceptable Taxidermy

Even though I have dated someone who was a devoted hunter, I have never understood the appeal of stuffing animals for display until now. I was clicking through ArtistDay for inspiration and stubbled upon these collaged, textile forms from acclaimed French artists, Frédérique Morrel and Aaron Levin.  I was instantly hooked and knew Bambi was definitely trying to tell me something. I was intrigued by the mix of often distorted or segmented animal forms, vintage fabrics and biblical garden of eden imagery.  The combination created a Warhol-worthy pop feel that instantly brought a smile to my face.  Especially with TalkingHeels's recent obsession with artist like Nick Cave, Frédérique Morrel's work falls right in line with the festive, childhood-wonder aesthetic for which the girls are always on the hunt.  In light of all the tragic news stories that surround us now a days, maybe we could all do with treasuring these little reminders of paradise lost.

Image Source: frederiquemorrel.com

Below are a few images from the couples personal home.

Artist Bio:

Frédérique Morrel is the marriage (in both the proper and the figurative sense) between two artists who met while jumping on neighboring beds that they crashed in a conceptual exhibit at a Paris contemporary art museum, sometime back in the 80s.

Three children, two Jack Russels, some assorted Guinea pigs and goldfish later, they gave birth to Frédérique Morrel in order to explore the further corners of their creative minds and to question the current relationship between mankind, nature, the animal kingdom and the pursuit of happiness.

While Frederique first appeared in Paris in 1958, Aaron saw his first light in Topeka, Kansas the same year. Born into a military family, Frédérique had a defining moment when her grandmother’s personal masterpiece, a somewhat kitsch panoramic wild boar hunt in painstakingly executed needlepoint was discarded when she passed away, in favor of more reputable oeuvres, creating a sense of loss and injustice that motivated Frédérique to initiate her work.

Source: artistaday.com

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