James Merry’s unleashes a sharply satirical sensibility and Nifty embroidery skills upon 90’s sportswear to express a longing for the Icelandic countryside.
In an interview with Vice, He explains that he was ‘really missing Iceland and being in the countryside’ whilst living in New York when he begun to embroider his old sweaters. He took garments that he felt were emblematic of his urban surroundings and ‘fertilized’ them.
The project, entitled ‘sporticulture’, forces logos to flower. The process, whereby Merry alters the sleek, easy to replicate lines that emblazon mass produced sportswear is a ‘silent protest’ against the lifestyle that otherwise mundane, nondescript, everyday wear is a product of.