"Malleable Privilege"

Darren Gallery, 2017


In a culture that is lead by visuality, clothing can communicate who we are before we even speak. In this vein, photographer and artist Maya Fuhr is interested in altering perceptions of the fashion industry by highlighting its inherent contradictions and flaws. Archiving the artists personal and profession interaction with consumer culture, MALLEABLE PRIVILEGE is a series of still lives

and sculptural works that focus on how clothing is used to communicate self-image, expression, and identity.


With a soft focus and a sharp attention to detail, Fuhr tells a story that brings the viewer to consider the where, what, who, and why of the fashion industry.  By documenting it's impact, Fuhr visually communicates an uncanny representation that lies outside of traditional industry framework.


From the detrimental environmental effects on our planet, to the damaging cycle of unattainable standards of beauty and wealth, the fashion industry can be inaccessible at best and harmful at worst. Within this vein, MALLEABLE PRIVILEGE affects reflection, at a personal level, on the complicity and participation in the vastness of consumer culture.  An examination of the space within and outside the fashion world, MALLEABLE PRIVILEGE considers the impact of of clothing as armour and as a way to communicate identity, and the way the two converge in the development of personal expression.

"Curb The Hub"
Gallery On Wade, 2016.


Ours is a generation of fingers that instinctually, impulsively squeeze forefinger to thumb while viewing an image. We pinch pages in a quarter-century that has moved the darkroom to the digital; in a political climate that promises to plug leakages of data. 

We offer ourselves to a zeitgeist that continues to let those private seepages run.  Maya Fuhr is assessing the advancements and regarding the damage. She is pursuing control.


*Curb The Hub* frames Fuhr as both individual and structure; as both subject and artist; confessor and censor. Her photographs zoom out and zoom in. She selects an image and pairs it with a crop from therein. She blows up a photograph, prints it large, makes it permanent; but it’s printed on crumpled aluminium. She pushes for digital effects in film, stretching the image, but the medium is unrefined, the grain shows through. Fuhr opens up, but obscures access. She is common, and cryptic; available, but away.

Rounding her comment’s potential edges, Fuhr maintains a soft humor, a dance between shadow and light; a delight of fashion exercised in non-descript locations; a
distracted gaze; a confessional color. She is detached, sensual, but don’t mistake her: Maya Fuhr is attempting control.

"Garbage Girls"

Artemisia ארטמיסיה , Tel Aviv, 2016.

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