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Iluá Hauck da Silva
 Born 1976
 Lives and works in London, UK

 Permeated by a strong sense of the relationship between decadence and beauty, Iluá Hauck da Silva’s work explores some
 of the darkest aspects of the human condition. Drawing on her background in art history, she rethinks and subverts, with a
 contemporary vision, Greek and Catholic Mythologies, and classic genres such as Vanitas and Pudica Pose.

 At its core, Hauck da Silva’s practice entails investigating and interrogating existential concepts. It also offers thoughts on current
 social values and the construction of history and traditions. Her sculptures are both critical of contemporary society and an
 invitation for refl ection as they bridge the publicly accepted and personal attitudes towards the concepts she deals with.

 Using a wealth of materials to form a complex and meticulous visual vocabulary, a reminiscence of Symbolist and Art Nouveau
 discourses, Hauck da Silva’s  choice of media is dictated by the  concept  behind her  ideas, as an intrinsic visual  dialogue
 between matter and meaning is vital to her practice. Optical glass, metal, crystal, and leather charge her work with transgressive
 connotations: as meaning unfolds, beauty, pain, pleasure, and irony crystallise.

 Veins of Vanity I is an ethereal, thought-provoking piece, which offers both a contemporary take on the Vanitas theme and a
 conceptual approach to life casting. The artist’s torso, cast after she had been wearing a tight-laced corset, presents indents and
 scarring, which are testament to the destructiveness of vanity. Such scarring is only visible because of the distinctive property of
 faultless transparency inherent to optical glass, which, in this piece, has been polished to perfection on the front, and sandblast
 on the back in order to preserve minute details of the indenting on the skin. Veins of Vanity therefore articulates vanity and its'
 destructive aspects through the artist's own vanity. The accentuated curved shape of the waistline functions as a signifi er for
 femininity, and points to the idealisation of the feminine body in Western cultures. This piece was completed in 2006 and is part
 of the body of work Minotaurs of the Mind.

 Sexual repression and censorship have been infl icted in different ways over the centuries. Punishment is one of the most complex
 of  them,  as  it  can  be  co-opted  and  used  as  a  sexual  practice  in  itself.  Flagellation  II  provokes  thoughts  on  this  intrinsically
 contradictory issue. It further addresses and questions pain as a form of redemption and the manipulative aspects of its use as a
 tactic. Meticulously executed, this piece has an intricate beauty, which alludes to the opulence of ecclesiastical aesthetics; its
 luxurious quality momentaneously distracts the viewer from its true purpose, the mortifi cation of the body. This piece belongs to
 the body of work entitled 'In the Name of the Father?'.
 ILUÁ HAUCK DA SILVA graduated from Goldsmiths' College in 2002. She has exhibited at Lacey Contemporary Gallery, UK in 2014, and with The
 National Trust Sutton House, The Royal Landscape, Shoreditch Town Hall, and the West Bank Gallery amongst others, as well as having showed
 internationally in Brazil. In 2014 Hauck da Silva was shortlisted for both the Smirnoff Winter Award and the Passion for Freedon Award and in 2013 was
 a fi nalist of the International Aestehtica Art Prize.

 Top right: Cilice I, 2010, Brass and enamel.
 h: 7.5cm w: 10cm d: 10cm, Artist’s Collection.
 Right: Medusa, 2012, Lead Crystal Glass.
 h: 156cm w: 31cm d: 35cm, Artist’s Collection.
 Far right: Veins of Vanity I, 2006, Optical Glass.
 h: 40.5cm w: 30.5cm d: 20cm, Private Collection.
 Next Page: Flagellation II, 2012, Brass, leather, wood and Swarovski Crystals.
 h: 3cm w: 5cm d: 63cm, Artist’s Collection.

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