New York

Heidi Bucher, Der Schlüpfakt der Parkettlibelle (The Hatching of the Parquet Dragonfly), 1983, textile garment, latex, mother-of-pearl pigment, 51 1⁄8 × 41 3⁄8".

Heidi Bucher

Lehmann Maupin | New York, W 22 Street

“We, all women, have quite a primeval relationship to textiles,” said the Swiss artist Heidi Bucher (1926–1993) in an interview from 1975. She draws a connection between fabric as women’s labor (“We’ve made it all ourselves”) and as capital (“the [bridal] trousseau and all that”), a frank reference to women as chattel passed from father to husband. At the time of the interview, Bucher was navigating a radical shift in her creative practice and personal life. Following her divorce in the early 1970s from the artist Carl Bucher, who collaborated with her on various fashion and art projects, she left the California home they once shared and moved back to Switzerland. There, she started using latex as a sculptural material to cover items of clothing, noticing that the rubbery substance would subtly darken from white to mottled shades of pink and beige. In 1976, she embarked on her breakthrough

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