week 8: soft-core classical sculpture

Mimicking the processes of the tried and tested real deal,

with aspirations of creating through another material an unreal for the real real deal.

'Cold as a pearl at the bottom of the Atlantic'.

Images: Material samples for studio development.

Artemis Ephesia with headdress, necklaces, garment (with bull-testicles?),

and skirt with animal motifs (Ephesus)

source: http://www.philipharland.com/Museums/EphesustArtemisEphesia.htm

"ADORE BEAUTY,

WORSHIP FERTILITY"

wendy & jim las vegas riding grey collection spring/summer 1998

source:http://www.contemporaryfashion.net

Julian House

Footage to accompany the first edition of The Folklore and Mathematics Periodical.

A Ghost Box film by Julian House.

The pace of this film is great, the slowing down and then speeding up is quite disorienting. In relationship with the hints of ambiguous shapes and lights it creates a powerful tool whereby the viewers imagination can interact.

This would be interesting in regards to stretch.

It can revel that which it encases, but many times its in a distorted or unclear way. It too can leave a space whereby the imagination can fill in and make sense of what is and what is not there.

allover redrover

This Mortal Coil 'kangaroo'

I am a bit obsessed of late by the visuals of this clip, plus its an amazing song.

week 4: the nana's (patience)

[embellishhhhhhhment]

'To place a concrete fountain in a forest'.

Thinking about the need to decorate the generic, or anything for that matter.

-Too much or too little of a void object I feel sorry for.

-Using the obsolete for an obsolete function, green on green.

-Setting up scenarios whereby the act of making the embellished is also embellished.

-Performing repetition of the pointless, knots in string.

-More than one as a surface quality, adding then subtracting then re adding.

- Process variables dictate the end result, a garment directed and tainted by emotionally informed material and construction choices.

=breeze dancing underwear made from recycled George Michael cassette's.

felt-legs

audio: Woods In The Wind Kiyoshi Mizutani Yokosawa-Iri

samesilkgreyfoam & gingnah

These two videos are the result of my research into the stretch generic.

The first film is a combination of developing photos for presentation and also a material study into expanding foam. I was trying to take still photos but realized quite quickly, (after much initial frustration), something far more beautiful was happening in regards to interaction between the wind and fabric. These also highlight how much more i respond to the process as opposed to the final outcome. I think its because that is where things seem more alive and unforced and full of possibility.

the generic

When I think about the generic I think about a neutral grey-zone.



Switzerland, fashion at its most functional and inoffensive a simplistically -peaceful -beautiful state. In my head grey jersey generics make the most sense.


A grey t shirt is like a white unicorn or a red Ferrari; you don’t have to think, a.b.c. - 123.


In regards to this as a point of consideration I want to introduce the unexpected or too much of the expected, just a different feeling to these garments that perhaps you don’t even pick up on consciously. A slight awkwardness.


What makes a generic right and how so do you isolate this quality? Twist it just enough so as not to scream, but just whimper, "I’m not quite what you think I am".


I have come to think that generic garments carry some form of golden mean principle. They have a balance that the majority of people respond to in a positive way, quite like a classic song.

When I start playing with them this inevitably upsets there melody and they become 'out of tune' almost instantly. Personally I like this 'upset' quality, it contains an intensity and ambiguity that I find intriguing and quite beautiful.

ads:developing images for presenation

own photos

photo by Isabel Armstrong