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The work of the British artist Celia Pym can be approached from different topics, many of them linked to craftivism, such as relational practices, art in the public space, sustainability, care for the environment, consumption habits or fashion ethics. But the essential question of her work, which will be the center of this interview as well as its guiding thread, especially revolves around the triangular relationship among cloth, body and memory: the traces of the bodies in the garments and their history through them, the reconstruction of what is missing in the fabric, the parallelism that for the artist has the fact of taking care of a body and taking care of a garment (with the corresponding relationship between the skin and the fabric), and what it means for her to put her body physically in her actions. All this will try to elucidate if the result of her work, consisting on researching and repairing the damaged cloth by the use of the bodies, could represent an anachronistic and anti-official history, a kind of artistic ethnography, where to perceive the overlapping of the lives of the garments, their wearers, their makers and their repairers. An embodied history born out a triple relationship and triple contact “with matter, with flesh, with disappearance” (Semin & Huberman, 1997: 11).
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