Amending is a collaborative project by Airyka Rockefeller and Taylor Pollack; an ephemeral pop-up shop featuring garments and functional objects. The first collection debuted in March 2016 at The Thing Quarterly in San Francisco:
"Airyka and Taylor bring together a selection of clothing 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. 1 features a selection of ceramic vessels commissioned from local potter Zoe Dering, flower arrangements by Rebekah Northway of The Petaler, as well as an afternoon of tea-tasting by Leaves & Flowers and tarot readings by local friends Sarah Coenen and Gillian Masland.
Opening Reception: March 24th 6-9 pm (with Andy Cabic playing records & cookies care of Tartine Bakery)
Pop-Up Shop Hours:
March 24th Thursday: 6-9 pm
March 25th Friday 11am-6 pm (Leaves & Flowers tea-tasting 2-5pm)
March 26th Saturday 11am-5pm (Tarot card readings 2-5pm)
We consider the garments we wear and the vessels we use daily to be living-arts, and as such, key aspects of our lives. We believe that 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, we’ve collected a group of women’s garments and domestically oriented objects inspired by the lineage of clothing-swaps and by the principle of parting ways with belongings as others materialize. Like a quintessential garment/notebook/letter exchange that is mailed between two friends over many years, we are 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. We believe in improving a well-designed, well-worn piece of clothing/furnishing rather than discarding it. We’ve made alterations to some of our collection: a raw cut here, new seam there, a change of button, or long dip in a dye bath; essentially these alterations are minimal, a mending of sorts.
We ask ourselves 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.’ Our response to this discrepancy in ourselves is to start a practice of collecting wherein our items are gathered only to pass along. We invite visitors to dismantle our collection and build their own.