Rembrandt looks at the viewer, looking rather defiant and insolent, in what’s a prescient self portrait. A selfie portrait in fact. A pre-selfie maybe. Is it a subjective depiction or an objective one? What is subjective, and what is objective anyway? Only the viewer can tell.

Items of clothing – wearable objects – meet and crash with non wearable objects. Out of this clash, fashions in fragments arise. As much as it is real, thus objective, it is all very subjective, and rather puzzling, or defiant, or insolent because of that. Only the viewer can tell.

The clash is literally a clash: a handlebar, a skateboard, a door hinge, a pair of working gloves land on tops and sweatshirts just as they are. Why? Only the viewer can tell, and maybe there is no reason for that.

An idea of blunt elementarity frames the clash. Shapes are essential to the point of banality: the t-shirt, the sweatshirt, the bermudas, the dress, the jean jacket, the five pocket trousers, the bomber, the tailored double breatsed blazer, the tank top, the parka. Because of the clash, their objectivity becomes defiant and utterly subjective, like a barcode peeking through a slash, or a closure that goes askew. All of it grounded on shoes with maximized soles and details, and colorful bags.

A collection that asks to be looked at in perspective: from the peak of the selfie stick.