"Tec Style"

10 Years Ago Gallery, 2019.

Tec Style, the first solo exhibition at 10 Years Ago Gallery, is a new series of mixed media works developed over a four year period by Toronto-based artist Maya Fuhr. Recording the fabric of clothing and other related materials, Fuhr examines the relationship with textiles of dress, coalescing the geographic anatomy of the clothing we wear each day. This series of works traces the steps of a garment’s lifespan through a process of investigation following the factory creation. Balanced on the systems of creation—the production of a final product is considered. The altered space between image and concept describe a gradiated boundary concerning whether clothing can ever be inactive. A performance of transformation takes place. Light boxes, 3D renders, sculptural explorations and video installation realize an embodied investigative operation closer to a world of object apropos. Fuhr is handling the increasingly expansive materiality and fluidity of form within the familiar to reveal substances of newness’. Studying the process of creation, at each step the material at hand is metabolized by its environment at a pace unique to the world’s experience of it. What is the living memory of an object’s material form? The intimacy and sensuality construed within our relationships with our clothing are met with the tactile realities surrounding their meaning-making.

- Dusty Lee Norsworthy

A portion of the proceeds of this series are going towards My Clothes My World, a non-profit organization educating elementary and secondary school classrooms about the cycle of fashion.

"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 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.

A documentary series created and produced by photographer Maya Fuhr exploring the outcome of neglecting to maintain a clean bedroom. Originally shot for VICE and accompanied by Maya's interviews with the girls, she tries to understand the psychological low down of why these girls love to live in such messy habitats. The photos captivated audiences globally with the trash-filled depths and curiosity of such seemingly disturbing portraiture. The series raised questions about cleanliness expectations today and why are beautiful, young ladies seen lounging in their own filth so shocking? Inspired by Fuhr's own pals in Montreal, where she lived in her late teens, the series features girls in both Montreal and Toronto.

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