Visual Arts

Perhaps one of the to a greater ex ten-spott repulsive, in so far cute, toys all of time, Jennifer Lews stuffed ca-ca dumbfound the mark for oddball accessories in 2003. The ca-ca is plush, even pretty, solely ca-ca nonetheless--а furry rendition of excrement in the feigning of а stuffed animal. This homage to human refuse is yet one of more than а dozen plush objects Lew has completed in the last year and is change to sudden success at New Yorks New Museum of present- daytime(a) Art.

А native of Queens, New York, Lew, 23, caught the design bug as а savant at Manhattans High School of Fashion Industries, where she learned the essentials of s nontextual matterorial form, structure, and sewing (jenniferlew.com). In college, she studied graphic design on a lower floor capital of Minnesota Sahre at the School of Visual Arts, completing а driving dissertation project in 2002 that had the theme accumulation.Her final thesis publi swanion was а reckoning book for adults--count the knives, guns, drugs, and so on--that commented on the dangers environ urban kids. After а summer stint at the flying Design Machine, Lew became а junior graphic designer at Simon & Schuster, assisting art directors such as John Fulbrook, Jackie Seow, and Michael Accordino.

DiscussionIn spite of the responsibilities of full-time work, Lew hatched ambitious plans for her off-duty pursuits. In the fall of 2002, she began making stuffed animals and objects. Her first creation, а giving for а niece, was а turtle with а detachable shell. А pink bunny emerged next from Lews workshop, followed turn up behind by other fauna, ersatz edibles, and offbeat items.

concisely after she began the project, much of Lews free time was devoted to producing the polyester-and-felt collectibles. Her stuffed-object repertory includes а set of drug paraphernalia that contains lines of cocaine and а razor; а stuffed cat in а Velcro-fastened bunny suit; and edamame pods with removable soybeans. Like her counting book, these items embody the ephemera of adulthood in forms associated with children. They are unabashedly cute, yet adults--their primary collectors--embrace them.

Lew notes that there is continuity between her two notional lives. She says that she follows much the same process when developing the stuffed-object collection as she does when designing for the printed page, since both media require her to compose with varying palettes of colors, scales, and shapes.

She enjoys her day job, but she relishes the creative freedom that her stuffed collection allows and the tactile enjoyment of handcrafting things. Lew adds that the handmade esthetic, with its inevitable flaws and blemishes, has an intrinsic charm: Its about pass judgment that people and things are imperfect, but beautiful anyway (Reynolds, 1975).ConclusionWhen Paul Sahre caught wind of the work, he arranged for Lew to show it to some colleagues at the New Museum (jenniferlew.com). They loved it, and in June 2003, Lew found herself with the daunting assess of filling the Museums window. She did, and the store continues to sell her work, in limited runs of ten to 20, at а brisk pace. Designer Todd Oldham bought her ca-ca, and shes fielding а bevy of stuffed-object offers. For Lew, politic in her early twenties, the way forward may be unclear, but theres little doubt that her companions will be stuffed, plush, and just а tad naughty.

ReferencesJennifer Lew, Retrieved from, http://www.jenniferlew.com/website2%20jpegs/index%20vs2%20bio.html, 2008Reynolds, J. (1975) Discourses on Art. Ed. Robert R. Wark. New haven: Yale University Press.

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