Graham Tabor lives and works in New York. He voluntarily compares his collection to that of an archaeological dig: each fragment separate from the rest, almost veiling its origin. Translucent like tracing paper, constructed of torn stitches, openwork and punctuations, the clothes form a complex game of superimpositions. Comparable to the interventions of the American artist Gordon Matta-Clark, to whom Graham Tabor makes reference, these slits do not reveal the body which is underneath, but on the contrary, alter its perception, deform it and unveil unexpected segments. Organic and sensual hairstyles, intertwinings of hair and textiles, extend each silhouette. These features grant the tribe, which wears them the allure of strange warriors. Tabor’s men seems dressed for the sacred ritual which would mark a return to life after a long silence.
