"Layers, Layers, Layers explores the body as surface to be read and understood. The reading of the body within the work occupies a Pacific populace-autobiographical framework, knowing that her body is a place holder for others in similar positions. The use of the body is subtle within Layers, Layers, Layers as the body itself becomes a surface and material to be edited, modified and projected out as text.Transforming flesh within moving image into Pacific iconography is a way in which Darcell seeks to create a self-constructed identity that tries to surpass the Western lens in which she was raised."
"Layers, Layers, Layers explores the body as surface to be read and understood. The reading of the body within the work occupies a Pacific populace-autobiographical framework, knowing that her body is a place holder for others in similar positions. The use of the body is subtle within Layers, Layers, Layers as the body itself becomes a surface and material to be edited, modified and projected out as text.
Transforming flesh within moving image into Pacific iconography is a way in which Darcell seeks to create a self-constructed identity that tries to surpass the Western lens in which she was raised."
Two of the artist's parallel worlds combined: wood chopping and their Polynesian culture.
The disapproval of family members is physically manifested and endured.
Two of the artist's parallel worlds are combined: woodchopping and their Polynesian culture.
Apelu explores the mythology surrounding Hine-nui-te-pō, the daughter of the god Tāne.