Amending is an ephemeral pop-up shop taking place annually at various locations in San Francisco. The third collection was hosted in early June, 2018, at the lovely, airy boutique Anaise in San Francisco:
"Amending brings together a selection of garments, artworks and functional objects in order to highlight the blurry zone between 'retail' and 'art' -spaces, high-art and living-art, and to consider the simultaneous, seemingly contrary philosophies of material-cravings and minimalist-longings."
Amending No. 3 features a selection of vintage clothing and accessories, novels and lamps to read them by, glass and ceramic home-wares as well as paintings by local artist Daren Wilson, inspired by Italian painter Morandi’s shifting mid-century tabletop arrangements.
Opening Reception: June 8th 4-7 pm
Pop-Up Shop Hours:
June 8th Friday 12-7
June 9th Saturday 12-7
June 10th Sunday 12-5
Amending considers clothing, art, objects and intentional spaces be living-arts, and as such, key aspects of our lives. Accordingly, what we bring into our homes and wear on our bodies should be playful and sane, as functional as they are pleasing.
With this in mind, Amending brings together a group of women’s garments and domestically oriented objects, including, in this incarnation, books, lighting and art, inspired by the lineage of clothing-swaps and by the principle of parting ways with beloved belongings, trusting others to materialize. Like a quintessential garment/notebook/letter exchange that is mailed between two friends over many years, Amending is drawn to objects with shared history, objects which compel a second/third/tenth life, and which have had, and will have, many owners over time. To amend is to modify, to improve, and in this spirit, to insist that a well-designed, well-worn piece of clothing/furnishing can be modified, tended to, and passed along, rather than discarded. There have been subtle alterations to some of the collection: a raw cut here, new seam there, a rewiring, re-grouping of sorts; essentially these alterations are minimal, a mending of sorts.
Amending asks why we feel a powerful need to constantly bring things home alongside a parallel longing to let go of our varied possessions. Even as we simultaneously admire the tenants of minimalism, we sway again and again into ‘maximalism.’ Amending’s response to this discrepancy in ourselves is to start a practice of collecting wherein items are gathered only to pass along. We invite visitors to dismantle our collection and build their own.