Submission
Paloma Proudfoot

Project for an Overcoat

“Editorial” is excited to present a solo show “Project for an Overcoat” by a London based artist Paloma Proudfoot. It is the first larger presentation of the artist in the Baltic region.


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Paloma Proudfoot, Project for an Overcoat. Exhibition view at Editorial, Vilnius, 2021
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Paloma Proudfoot Project for an Overcoat. Glazed black stoneware, mirror screws, 2020
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Paloma Proudfoot, Hiding to make room. Resin, needle, thread, Perspex, bolts, 2020
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Paloma Proudfoot, Breeze boots I, II. Glazed black stoneware, 2020
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Paloma Proudfoot, Breeze boots IV. Glazed black stoneware, 2020
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Paloma Proudfoot, Codpiece. Resin, fabric, wadding, glass head pins, boning, hook and eye fastenings, 2020
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Paloma Proudfoot, Breeze boots III. Glazed black stoneware, 2020

Notes on dressing / Project for an Overcoat
1. Dressing is a process that marks a beginning, a readying of oneself. Or perhaps more
accurately it is a renewal: changing out of and into something different to demarcate a shift
in time or duty.
2. Dressing is a ritual of preparation, of putting straight – dressing a wound in a bandage,
dressing a salad with oil for easier swallowing.
3. Dressing my dad in hospital, remembering how he admired his standard issue gown,
marvelling at the detail spent on a garment only ever destined for single use: I thought of
how all patients, with their individual histories and ailments, become one body in this
uniform, a body generalised in their need for care.
4. Clothes can be a balm, covering wounds literal and metaphorical, simultaneously
smoothing the eye to edges and repelling intrusion. The dressed body presents a unified
whole and creates an illusion of safety around the body; one in which we feel and perceive
others to be contained, discrete entities. Clothes define us as individuals but also form a
kind of connective tissue, signing our allegiances to others.
5. Clothes can be bondage, felt to be a punitive chore that falsely expresses individuality,
completely disassociated from how the wearer might truly feel. This is perhaps why clothes
still suffer from a reputation of being a superficial concern but could also be their most
powerful attribute. The lie as shield: carapace to the unstable centre and protection against
deeper judgement.
6. In the 1920s Russian Constructivists tried to design a uniform clothing fit for all to
espouse the Communist values of the nascent Soviet Union. They aimed to reject fashion
and all its bourgeois individualistic associations and embrace social cohesion through
uniform. The designs, most of which were never realised, seem to function as diagrams for
an alternative school of clothes making. With limbs sectioned off and flattened, not cut but
constructed, a collage of different material planes rather than the hidden seams of neat
tailoring. The flattened shapes put bare limb and coat as if as one, like X-ray scans melding
cloth and skin. These designs proposed a utopian vision of a world without fashion, an
egalitarian society without difference, but no consensus on a single type of dress could be
found and the designs ended up creating a fashion in and of itself
7. Codpieces, the padded prosthesis to exaggerate the crotch of the Tudor English man,
were used as pin cushions by tailors while gussying their client into their layers of velveteen
glory that framed their newly upholstered dicks. These men of great standing looked to
mark themselves apart: richer, more powerful, better endowed than the next, but now we
can see how they all conformed to look exactly the same.
8. To be unable to get dressed marks one as an outsider. Those that are too physically or
mentally unwell, or homeless without a change of clothes and shelter, are shunned from a
capitalist society, whose entry system is the ability to show up ‘presentable’ and ready for
work. If I choose not to get dressed, I have been brought up to see that as being lazy,
somehow renegade, potentially dangerous even, when I know that it is actually completely
harmless. I think of Jo Spence’s diaries recounting her experience of breast cancer and the
entry that read, ‘How do I give up responsibility without being ill?’ emblazoned in black
marker pen.
9. As my dad’s illness progressed, I might have imagined that dressing would have steadily
decreased in importance. Sartorial concerns seemed rightly insignificant in the shadow of
his imminent death. But in watching the ever slower and exaggerated process of my dad
being bathed and delicately changed into fresh pyjamas by my mum, the process of dressing
became an almost holy ritual. Confined by his illness to his bedroom, dressing was entirely
devoid of concern of how he would be seen by the outside world. I saw dressing at its
purest: a process created to provide comfort and convey love. Dressing did not mark the
start of his day but formed almost the entire purpose of it. It represented his desire to live,
and he dressed, or at least was dressed, until he really could no longer.
– Paloma Proudfoot

Paloma Proudfoot (b 1992, London) is an artist living and working in London, with an
MA (Sculpture) from the Royal College of Art. As well as her solo practice she
collaborates with artist and choreographer Aniela Piasecka and the performance group
Stasis. Proudfoot also works with artist Lindsey Mendick as ‘Proudick’, producing
installations and performance events together.

Recent solo exhibitions include Curing, Sans Titre, Paris (2019); A History of Scissors,
Soy Capitan, Berlin (2019); The Detachable Head Serves as a Cup, Cob Gallery, London
(2018). Recent duo and group exhibitions include Dancing at the edge of the World, Sara
Zanin Gallery, Rome (2020); Proudick, Hannah Barry Gallery, London (2019); Becoming
Plant, Tenderpixel, London (2018); The Clean Carcass of the Host, Marso Galeria with
Galerie Sultana and Sans Titre for Condo Mexico, Mexico City (2018).
“Editorial” program is supported by the Lithuanian Council for Culture