We had let the skin dry and set into a shape. We quickly found that the stiffness in the skins texture made it really unwearable unless we cut panels in it, which we did not want to do straight away. We much preferred the the piece as a sculpture rather than a garment. This led to us mounting the torso shaped skin on the wall, we also concluded that the spread out areas of the skin was the best bit, rather than the part that was shaped around the torso. I'm not too sure if I like the idea of the work being set in a obvious human form, I'd much rather it be loose more ambiguous shape, a more instinctual shape. We decided to re-wet the skin the torso section of the skin and reshape it into something else we thought hard about what shapes we could mould the other half into as we liked the way it had wrinkled when it was splayed out on the floor we decided to drape it over a plinth to encourage the skin to wrinkle and fall naturally over the square object. We liked the way the skin interacted with the object almost claiming the clean white shape for it's own. The inner surface of the skin is now visible allowing for a connection between the outer furry surface and the not to lovely rough, puckered dermis. By folding the skin over the plinth we created a cavity looking almost like the interior of a cave, which when paired with the animal fur conjures up thoughts of an ancient primitive way of life.
Next I want to pitch to Danny, perhaps forming the skin into a cone shape, this is a very diverse shape one that can interact with the body in all sorts of ways, over the head, over the arm, over the foot. Perhaps like Jana Sterback's 'Cone on Hand' (1979) , where the shape of the cone creates this seemless extention of the body.