For us, this means being proactive about continuously improving our product design, raw material production, manufacturing, transport, storage, and marketing, as well as the facilitation of extended use, reuse and recycling of our products and their components. With this in mind, we like to describe the production of sustainable fashion as a never ending process of improvement across all stages of a product’s life cycle. In reality, the only time a brand can claim to be 100% sustainable is when they don’t produce anything at all. Now, this is an oversimplified summary of a very complex supply chain, but the point is that there are a lot of different components that determine how ‘sustainable’ a sustainable fashion product actually is. Resources need to be extracted or grown, infrastructure needs to be built, factories operated, and products need to be packaged and shipped to where they are sold. The reality is that when producing anything, there will be an impact. You could, in other words, say that sustainable fashion is a myth. The energy created hand in hand, shoulder to shoulder falls into a cyclical rhythm that harmonizes with the turn of the seasons and the natural laws that govern the universe.Before going into what exactly sustainable fashion is, it is important to clarify that we believe that creating 100% sustainable fashion is something that cannot be achieved. Made by hand independently or in collaboration with local craftsmen, these objects reflect Tarasewicz’s laudatory view of physical work in an increasingly automated world. The spinning spheres, the shapes that taper into a human limb, refer to a collective spirit of work and the power vested in community – albeit a power subjugated by the course of the pandemic over recent months. The elements in these pieces are multiplicitous and cumulative. These new forms are human-like: with discernable heads, shoulders, four-fingered hands. And yet, these figures are more machine-like than hu- man. ![]() Tarasewicz has returned, after a number of years, to the meta- phor of the body. In Full Circle Ahead! we also enter the circular realm of cycles with yet another sort of encounter. The piece presents a diagram of an encounter that has been transplanted into the realm of digits and geometric forms. The multiplicity of meanings held by the figure of a circle or sphere can be found in Tarasewicz’s works, for instance, in her sculpture Flowing in Waves Towards Equilibrium, which currently floats above the staircase at the Zachęta – National Gallery of Art in Warsaw. ![]() The whirring parts – if we look at them schematically – are reminiscent of the work of machines or even celestial bodies in transit. Pairs of dancers are arranged in a circle, simultaneously spinning around their own axes as they travel the circumference. Over the past few years, she has been exploring the mazurka, a style of folk dancing rooted in the physical movements of life in the countryside. This rural context is evident in her practice and the materials she uses, and directly reflected in her sculptures, installations and drawings. ![]() Surrounded by farm animals and fowl, and old farming equipment that her grandparents once operated, her life is directly linked to the natural world and its seasonal rhythms. Iza Tarasewicz lives and works on her family farm in Kolonia Koplany, a village in the Podlasie region of eastern Poland.
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