blake's stretch generics

When does a course of action inherit its own sense of direction?
By consciously only setting up parts can you allow the whole to grow where it pleases?
I am interested in clothing construction as an internal/external momentary phenomenon, a reaction and reflection upon the present moment.
Conception and creation through a singular vehicle or medium.
As much as possible I intended to avoid any sort of self- censorship of what is or is not appropriate and create loose indefinite final outcomes.
Looking at stretch as a means to reveal and disguise form and stretch as an expression of distance from process and creation.
These ideas where applied to generic patterns which offer a handshake from which, through materiality, I can apply an unknown worth.
A creation of the alien through the common.
An application of construction methods that allow for a building of
momentum and chance. Mechanical, seemingly directionless actions that through repetition of action build form. Harnessing both an internal and external driving force, influenced by self projection and a fighting of this. Progression towards an unknown result leading to a half surprise.
Methods that involve an element of prospect, a built in apparatus that
allows for the possibility of success or failure. Whereby mistakes and
triumphs can become the catalysts for new progressions upon what has been revealed.
A reaction to sensations through actions of the making process. The act of assembly is imbued with a seemingly contradictory duality of conscious distance and an intense focus on development of form.

1. Automatic behavior, from the Greek automatos or self-acting, is the spontaneous production of often purposeless verbal or motor behavior without conscious self-control or self-censorship.
‘a window of experience between sanity and coma in which self-control is lost’, and the body ‘behaves on its own’.
The term describes movements that are characteristic of an automaton, i.e. a machine that moves.
"compulsion to repeat": sensory automatism (externalization of perceptions in inner vision and audition).

1. http://en.wikipedia.org/wiki/Automatic_behavior

You don’t have to take responsibility for what has occurred.
Good news, you are just the means by which a pre-destined result will unfold.
I just plant a seed into the soil give it some water and help it grow.

Constants:
Textile Material- chosen for its neutrality and practical applications, such as maximum stretch, semi-transparency, and clean aesthetic.
Certain sensations involved in selection such as an inherent coldness of textile, chalky/soapy texture and light density.
Machines- Exploration of specialty machines; over locker, binding machine, zig-zag, cover-stitch, facilitate their inherent functions with another agenda.
Building of momentum in practice, a single sitting of construction can result in a struggle with associated restraints.
Pattern Base-Basic stretch dress block- made from stand.
The initial Application of conventional methods/modes of pattern construction based on the human form and the body as a sense of measure.
Movement lines/design lines, an individual mapping of the internal/external. Maximum movement within the body.
A systematic and sensible flow from head to toe.
An emphasis on strong internal/external sites of the figure. Both a rational and irrational mapping of the body’s landscape.
Beginning with an emotional response to a physical materiality and shape.
Basic figure hugging generic shapes- allude to three dimensionality of practice.

Stretch as full exposure of the human form.
Begin as a reveal of the figure within space.

Loose/controlled PROCEDURE:
Random order.
Ending in meeting of two.
By products-trails of the process: remnants of an
activity/movement.
By products of process become representations of an
activity.
Stretch as a closeness and a distance.
A need to evolve with the direction of a process
Removal from the self as builder/creator as much as possible.

The motif of a coil.
-The spiral around a radiating center is the ultimate expression of the psychic process of centering.
source: ’ Man and his symbols’ By Carl Gustav Jung. 1968

The motif of a pearl.
-A fragment of something that the oyster accidentally ingests gets embedded somehow on the inside of its shell, and the oyster surrounds that something with countless layers of mother of pearl.

These records where published in Proceedings of the Society for Psychical Research (Vol. 3: 182-87):
From the findings of Théodore Flournoy 1854-1921
PROFESSOR OF Psychology at the University of Geneva.

"On August 17, 1891, the patient felt for the first time a unique sensation, accompanied by formication and sense of weight in the lower limbs, especially in the feet. This sensation gradually spread over the rest of the body, and when it reached the arms, the hands and forearms began to rotate. These phenomena recurred after dinner every evening, as soon as the patient was quiet in her armchair…. The patient placed her two hands on a table. The feeling of "magnetisation" then began in the feet, which began to rotate and the upper parts of the body gradually shared in the same movement. At a certain point, the hands automatically detached themselves from the table by small, gradual shocks, and at the same time the arms assumed a tetanic rigidity somewhat resembling catalepsy."

Bind Building:
The bind layer method is an exercise in suggestion of shape as opposed to an assertion. It only whispers what is to follow and this is echoed by the bind in a muted and ultimately imprecise manner. It becomes an incoherent translation of form through a process of bind building.
Lines of bind caught to the edge of one another impersonate their partner but, through the nature of the material and machinery used, in a vague manner. The bind acts as both a separator of form and a unifier. It creates a flow of movement that stitch upon the skeleton of the base pattern. It continues to build strength of line and direction, upon which the consecutive layers reflect.
Drum beat movement- building of a form much like a trail. Thinking of the garments as a result of a singular process and allowing the process to unfold unbridled by a preconceived notion of a result.
Line as a sense of rhythm.
–when is it right to begin/end? To leave closed/open?
I.e. Binding falls apart, reaction, don’t fix just continue with the next line, the mistakes will become the glitches for what follows and will ultimately work themselves out naturally.
You are laying down a line for others to follow and transcribe.

layer A upon layer B

Aaaaaoo0kkkkk

Thread Caught Inside:
This technique offers both mimicry of a solid form in a more traditional sculptural sense and a need to cohere to a conventional sense of structure or formality.
The classical ideal.
Removing this from its reality, with the intention of placing it upon that which it ultimately is mimicking, neutralises it to an extent.
Because of the technique, by which the thread is loosely caught inside layers of stretch, there is an inherent randomness in both its application and its containment. Being unfixed they have an ability to travel inside the garment. They tend to feed into particular structures perhaps forced by the tension created between stretch and form; I have little control over where the lines ultimately will collect and where their faux grain will ultimately settle. The thread also alludes to the reoccurring theme of process and it’s by products. Effects that are remnants of the machinery and materiality of garment construction. By collecting the stuff from which the final is bound, hopefully builds a character of both past and present action.

Expanding Foam:
The application of the expanding foam ultimately creates another system by which the material forms an, all be it contained, unpredictable outcome. The sensitivities of the material mean that every application brings about a varying result. The ratio of the foams expansion is dependent upon many variables, temperature, pressure, and movement within its casing.
Another facet to the foams application is the performative aspect which also relates to all the above methods described. The simple injection of the material into the preformed vessels, on a more symbolic level, alludes to ideas of conception of form through a positive and negative relationship. I also feel this also strongly relates to the silhouette upon which I have established the base forms.
From the beginning stages till the final, the filling of space and containment of positive randomness seem to be two themes that carry throughout.

Stretch as an expansion-swelling-funneling into and out of.
Control of the largely uncontrollable expanding force.

The idea of replication and repetition, all be it distorted, has an important commonality among all the imposed procedures.
The presence of the individual as maker is also of great significance, the result is not a cookie-cutter one. In this respect what is made carries with it its own sole making, and the human hand in this evolution.
The themes with which I am dealing with lend themselves to contradiction and a sense of uncertainty. Surrealist artists often found that their use of ‘automatic drawing’ was not purely automatic, rather it required some kind of conscious intervention to make the image visually acceptable or comprehensible. I am finding that although you can lie down the foundations from which you open up these possibilities the overwhelming sense of order and conscious control dictate throughout.

"...Masson admitted that his ‘automatic’ imagery involved a two-fold process of unconscious and conscious activity...."
source: www.artandpopularculture.com/Surrealist_automatism

I tend to agree wholeheartedly.