SHANA DE VILLIERS

↑ the final form of my research on hands for "kill your darlings" ↑

The hand. It is always there, it has been for a long time. In my work and in the world. In my body and in your body.

For this transformation, which to me felt more like a regurgitation that did a 180-degree loop, I started thinking about all the hands I have made. I was bothered by them all as a body of hands. I asked myself: What is the glue that keeps me glued to this phenomenon of hand? Why does my subconscious lead me to its form, the shape of a hand, the use of the hand?

To see them all at once, I created a hand archive. I collected images of all the hands I made during my time at the academy. There were many. First, I made a collage of them all. Nothing happened. I started doing research on the use of the hand in modern history, looking at cave paintings and the use of the hand in art throughout the past centuries. Slowly, I started realizing it is something I cannot escape, try as I might. The hand is embedded in our social, historical, artistic fabric as a species. God, we do it all with our hands.

I thought this was very funny and ridiculously dramatic and I decided to take those emotions to feed the content of my process.

With this archive under my arm, I decided to choose one of the hands I made: two hollow plaster hand-feets. I made them without purpose and used them in a performance work in the first year. I have never liked them, they were heavy in something other than weight and I never felt at ease with whatever I did with them (including the video I ended up making for this project)

http://shanadevilliers.kabkfinearts.nl/files/gimgs/th-67_handarhcvi.jpg