Medusa’s Laughter. 2017
Medusa’s laughter is formally based on a figural seated Buddha and meant to create a since of effervescence when contemplating the story of Medusa.
She gets raped and then is attacked and turned into a horrible Gorgon who is so horrifying men turn to stone when looking into her face and finally when she is set free with decapitation out of her neck springs Pegasus and the Unicorn both symbols of LGBT communities. The laughter bubbles through the form and the story is the joke of our modern lives.
Life and Death. 2016
Life and Death, highlights a centrally-placed skull that sprouts flowers like Mickey Mouse ears as it floats on a collar of hand-sewn sacks resembling voo-doo dolls; also illustrated on the vase are juicy female genitals with fingers in them, feathers, and a springy worm that (like a Jack-in-the-box) props the image up above a foreground of black flower silhouettes. The piece suggests death, but it is more about life. The other side depicts Death a naked woman enshrouded on a cloud that she is giving birth to or making sex with simultaneously. The scene is tranquil in appearance but the cloud that envelopes her is radioactvie and the juice of their union drops down like rain on the lilies growing up from below.
Succumb is an ironic music box which plays Love me Tender, Formally the figures represent Interspecies sex but within their forms multi-dimensional perspectives are represented in the way in which the differing sides give insights into the scene. Marilyn Monroe and the Geisha make love on one side of the snail shell and on the other side of the snail shell a face is either sucking or barfing out the body of the snail which rolls across the sharper parts of the caterpillar that is laying in ecstasy as the snail gently glides over its ripples.
Note: The text above was written by the Artist. No modification was made by C.O.C.A.
Skuja Braden is a pseudonym & the surnames of International duo Ingūna Skuja (Latvia), & Melissa Braden (USA) working collectively & primarily with porcelain. Skuja Braden represents an “absence of presence” of an individual author, where two artists have combined forces creating a fictive and alternate proxy identity. Collaboration is the non-hierarchical framework Skuja Braden utilise as method, strategy, and philosophy, exploring alternative relations to power through a fusion of disparate identities, inclinations, and perceptions. The work is conceptually based, but always expressed as a synthesis of painting & sculpture. Their works blend decorative, literary, and political elements into hybrid forms utilising material that is historically associated with absolute refinement.