Thursday, May 27, 2010
I undid the garment and went in/I opened the door and wore the room. I undid its buttons like the turning of a door-handle. As I pulled it open and heard the sides of it touching fabric separate. I put my left arm through the door, its archway moving up and over my shoulder like a sleeve-head. I put might right arm through the door way, as I pulled my wrist through the threshold of the door, I jolted it over the threshold of outside through to inside with extra force, so as to push through the tightness of the ribbing. I shut the door, doing up all its buttons. I pulled its wall down, so it lay straight along my back and over my hips.
I looked around the room. At the edges of where each walls met I could see seam lines. Not all walls are finished like this, some are lined. Along the bottom of these walls, where they meet the floor, you will see a pleat, an allowance of lining before they are sewn to the carpet. The walls of this room have overlocked edges with 2 cm of seam allowance fabric pressed open into each corner.
Its pretty dark. The two smaller windows of the room are covered with pocket bags, there frames are jets. I can see a big 12 sided disc in one - its my change from the bus ticket this morning. In the other one if a big crumpled up ball. As I feel it through the pocket bags, its a bit furry, probably a tissue that went through the wash. One window isn't covered. Its open. Its framed with a collar. I unfolded it, so it travels straight up from the collar stand. Trying to keep my neck warm. I grab my scarf and wrap it around the frames edge. Now I’m warmer. I lift my hood up over the chimney, warmer still. I unbuttoned the door again, and pulled the two walls either side of it tight around me. The room it snug against me, the seams of its corners and edged are pulled tight, some of them separating slightly revealing gaps between each stitch point.
I loosen my pulling of the walls around me and let them slacken. The room now hangs off me. I start to see some rippling in its surface, the light from the collared window picking up and allowing me to see the surface and depth of its folds. Someone once told me, “If inwardness manifests itself outwardly, then surfaces are always signs, forms of the substance of reality,” he also said to me “thus the truth of every surface is found in its depth, the significance of outwardness is discovered in inwardness.” It hard to know what part of my body is underneath these folds. If I could get outside myself i’d know, I would be able to see wear I was whereing. Its hard to know what is rooming under there. I don’t know what it’s covering and hiding.
Saturday, May 22, 2010
Monday, May 17, 2010
The PHENOMENOLOGY of PROJECTION
“The visible about us seems to rest in itslef. It is as though our vision were formed in the heart of the visible, or as though there were between it and us an intimacy as close as between the sea and the strand. And yet it is not possible that we blend into it, nor that it passes into us, for then the vision would vanish at the moment of formation, by disappearance of the seer or of the visible. What there is then are not things first identical with themselves, which would then offer themselves to the seer, nor is there a seer who if first empty and who, afterward, would open than by palpating it with our look, things we could not dream of seeing “all naked” because the gaze itself envelops them, clothes them with its own flesh.” MMP, The Visible and the Invisible, pg 130-131
How do you experience wear? Can you wear light? I have been looking at methods of projection in modes of exhibiting. Maybe using projection of forms, animation of drape. Last weekend I went to the Screen World Exhibition at ACMI. It was mostly non-engaging. Except for one magical room, displaying a work by Anthony McCall.
My Experience of the Work:
On entering I came to a heavy dark curtain, which I proceeded past to a dark room. On entering the room, it took a while for my eyes to adjust and get a sense of space in the darkness. On one side of the room, two curved lines of light were slowly moving past and amongst each other. On the opposite wall, I realized their origin of their projection. A smoke machine created dust particles in the dead air space between these two sides meaning the traveling light was picked up and given a matter for retention.
At first I instinctually found myself moving away from the lines when they approached me. I tried to place my body within the alcoves of the light walls. I had a heightened awareness of the two sides of each line. The length of their projection made me more aware of the space of the overall room, and the moving possibilities of the way the curved lines cut and segmented it.
Quite literally, I was wearing the light, and the boundaries of this wearing were changing.
I have been thinking a lot about materiality. Can I form drape with something other than fabric. Can a curtain or a wall be transparent in the way it delineates space and creates a form. I think this Merleau-Ponty quote is interesting in thinking about, and can be applied to McCall’s instillation, “The completed object is translucent, being shot through from all sides by an infinite number of presented scrutinies which intersect in its depths leaving nothing hidden.”
Light it translucent and therefore the way it creates a form is transparent in a way. Nothing is hidden when you look at it - everything is knowable. However, there is still something which has to pick up the light - smoke particles, a wall, a curtain, a garment?
Viktor and Rolf’s ‘Bluescreen’ collection also uses projection. In this collection parts of their garments are fabricated in Blue which has the ability to digitally pick up projection. In looking at their catwalk - the retention of a 2D image on a 3D form is really interesting. Merleau-Ponty talks about how the screen has no horizons. The image of a filmed object become in a way flattened and 2D, when projected onto a form. For example the way the gathered neckline of the dress.
Here are a couple more crucial images in building up this projection feeling. The first is of a Galliano dress in which an air brushed image if drapery is superimposed on a dress which is also draped in some areas. It also, to an extent, gives you a sense of fit - in that the image os of loose folds, but the actual garment is so glove-fitting.
The second image is a Balenciaga skirt, in which the fabric is printed with loose flutes of drape.
I've also been looking at ways to rigging up transparencies. Much like the AFAR Project, shows at Off The Kerb Gallery late last year - a collaboration between Alexi Freeman and Aaron Roberts from Room 11 studio. The Project uses one of Freeman's print patterns on repeated hanging transparencies. I like the idea of superimposition which if viewable from multiple angles. The pattern is of a scale which relates to the body, thus the instillation can be worn by it's viewer. I'd like to do some experimenting with still shots of drape or garments in this form. Perhaps again layering this with projection.
Theme of the week - translucency. I think I need to be relating it more to experience though.
Sunday, May 9, 2010
At the begining of the week I was really hating the idea of going to sydney and having one less week to do work. But I think it has done some good, in having some time of less intensity and slight separateness from studio work. I know the next draft of my skeleton/proposal will be different as a result of the things I have seen.
Monday, April 26, 2010
“The whole life of consciousness is characterised by the tendency to posit objects, since it is consciousness, that is to say self knowledge, only in so far as it takes hold of itself and draws itself together in an identifiable object. And yet the absolute positioning of an object is the death of consciousness, since it congeals the whole of existence, as a crustal placed in a solution suddenly crystallises it.”
(Merleau-Ponty 1972, pg. 71)
Maybe what I mean when I say "consciousness of a garment" is the way in which clothes delineate space on a person in an effort to posit oneself in form, however this is never fully achieved - its a dialogue - a push pull. So lost.
Here is my Skeleton thus far. I hope it's a conciseulation thinspiration - it feels pretty off, especially the concept lines.
- What effect does drape have of experience of wearing
- creating and/or undoing boundaries in a garment
- Showing how clothes delineate space and posit the form of a person
- How do you hide and reveal wear and form through drape (and possibly edges/ internal cutting/translucency/projection - this is hazy)
- creating (and maybe revealing) a garment through hidden space
- using grading to control space/or generate patterns?
- finding a process to generate drape?
- finding techniques or materialisation or methods of display to reveal internal space?
- wearable garments connected or in the setting of an instillation
- a heightened sens of space and wearing
Sunday, April 25, 2010
I have been thinking a lot about what integrity means. It is a notion of consistency and alignment with initial or underlying crux which can be applied to a range of ideas, forms, concepts, beliefs etc.
Looking at a number of definitions it is described that; “inter-lying as a concept it has to do with consistency of actions, values, methods, measures, principles, expectations and outcomes.” Another definition, in the contexts I’m looking at, describe it as:
1. Adherence to principles
2. The quality of being unimpaired, soundness
3. Unity / wholeness, from an etymological / latin based stand point, it means wholeness or perfect condition - from the latin ‘integer’ meaning whole.
Of course the filament or membrane that constructs a fold is whole - unbroken - un-seamed, however it will always have an edge, but maybe this cant be distorted, or completely hidden?
In two dimensional form I guess the shape with the most integrity is the circle (one sided), in three dimension, its the sphere which when flattened makes the ellipse. However a circle is still closed, can it somehow be open? This kind of makes me think of this Merleau Ponty quote;
“If one wants metaphors, it would be better to say that the body sensed and the body sentient are as the obverse and the reverse, or again, as two segments of one sole circular course which goes above from left to right and below from right to left, but is not but one sole movement in its two phases.” [1962, pg. 138]
The circle is of course constructed from one side, however is moves in two sets of coupled directions, up and down (y axis) side to side (x axis). By splitting the two types of a circle and making their path lie in one continuing direction we create a fold. Two sides of a circle - split them open so they are visible? Makes a fold?
Here is another Merleau Ponty quote which shows the arrangement of closed circle in experience. The idea can relate to form and display.
“There is the circle of the touched and the touching, the touched takes hold of the touching; these is a circle of visible and then seeing, the seeing is not without visible existence; there is even an inscription of the touching in the visible, of the seeing in the tangible - and the converse; there is finally a propagation of these exchanges to all the bodies of the same type and of the same style which I see and touch - and by this virtue of the fundamental fission or segregation of the sentient and the sensible which, literally, makes organs from my body communicate and founds transitivity from one body to another.” [1962, pg. 143]
Allowing the sentient if be seen through the sensible - cutting the circle - un-folding the fold - pulling back the curtain. Much like this diagram from Deleuze [1993. pg 120]