Laisséz Unfaire (Lascia Fare), 2011-2014, 77 x 115 cm (30 x 45 in) archival ink on epson matte paper.
Formed by wear & machine labor, portraits of residual machined-washed attire. Friendly, posed, and dormant sitting perched as an object, the collected after-materials represent the real material of daily wear. As an image, the portraits become a remnant of the once worn, memorialised in an archive. The first impulse to make these photographs was my interest in dust, magnetics, and accumulation. As Sally Mann made What Remains, I wondered, what I could find as a single woman, to understand a system by studying a byproduct of that system. My interest and critique of inventions around the idea of Progress led me towards looking at the remains of machines designed to perform repetitive, daily labor, and the relations these have on labor and value. These portraits are studio lit, remains caught from the drying machine sieves in homes and laundromats in the USA. The drying machine found to a lesser degree in other countries, such as Norway or Japan where plein-air drying remains common. Taking-care, tidying, handling residual material are matters which are historically considered invisible, or at least marginalised.In a Laisséz-faire system the government is out of business dealings. In a Laisséz-unfaire system there are ways of gathering remnants. Years later, I would come to find the meaning in Italian, through the sound: Lascia Fare-which means, to Let It Be. And so in this project, Laisséz-Unfaire (Lascia Fare), is a result to make visible the nascent knowledge embedded in the everyday life of housework. To look at these byproducts to reveal the machinations around the ideas of progress, and to evaluate their qualities.