Thursday, 22 April 2010
design board 12 and 13
after further developing our collaborative design perspective we now have a clear proposed three dimensional outcome that encapsulates all of our concepts and design aesthetics with colour palette in conjunction with one another.
Wednesday, 21 April 2010
collaboration - experimentation response
from initially creating a toile for the subtracted trousers we as a group collectively, were extremely pleased with the results that it produced. therefore we decided to take the experimentation further in order to create the exact silhouette we desired. we made several toiles with differing spherical lay plans so as to test for the outcome we found most aethetically appealing.
collaboration - experimentation
in order to experiment with different silhouettes and also alternative panelling we as a group decided to experiment further with the technique of subtraction cutting as all of us particularly liked the outcome it produced and were keen to take this technique further and apply it to other garments. this particular technique is specifically useful for creating unusual silhouettes and structure therefore it aided me on my individual design exploration aswel as a collaborative experimentation.
a key aspect to the subtraction technique is the placement of the circles so we attempted to experiment in this area with as much variety as possible to really push the boundaries of its abilities. the image above is an example of one half scale pair we completed. when completing the first leg (the right hand side) we had plotted circles below the knee level, this resulted in the trouser leg not forming well and therefore we did not construct the bottom pair of circles on the other leg to compare the difference in the outcomes. the left hand leg gives an interesting silhouette without rendering them unwearable however the right hand leg due to the fact that we tapered the leg block in order to create a slender trouser caused it to completely distort.
collaboration - response to initial ideas
from having communicated our individual conceptual realisations from the brief and also our current design paths, it has initiated a clear link between our individual work aiding us to make an informed decision in terms of the collaborative three dimensional outcome. it is extremely apparant that we have a significant link in the paths we have taken within our designs and that is in terms of the panelling within the garment, this enables us to generate a key focus for us to develop a well established piece from a clear starting point. also it has become evident that we have an aspect towards the garment that differentiates, meaning we can collaborate these ideas together to produce one piece. this consists of, sean is particularly looking at the fabric and the way in which it can be represented, paris is exploring the fastenings and i am prominantly focusing on the silhouette.
collaboration - initial design ideas
within the brief for this module the end product of a three dimensional garment is to be a collaborative effort, by which the members of the group should consider all aspects of each others concepts in relation to communication and language and work together to amalgamate a final product that exemplifies the entire group.
the group consists of sean denham, paris hawkins-carr and myself. we intially began by bringing our ideas together and brainstorming all key aspects to our concepts to assist in highlighting any significant links in which to encapsulate and take forward our ideas as a collaboration to aid in a final product that would inform of all three conceptual angles in which we each approached the set brief. we then also discussed the directions we each were leading in terms of our own personal designs and what aspects we felt we would most like to contribute to the collaborative outcome. for sean the key path that his designs were heading towards was that of distortion and fragmentation of the fabric through the use of panelling and pleating, for paris it was specifically the use of alternative fastenings, prominantly that of magnetic ball bearings thus indicating the use for panelling in which to insert such fastenings and then for myself it was to create a silhouette that causes the garment to appear disconnected from the figure changing and distorting through the use of geometric panelling and structure.
orio
the photography of 'orio' is initiated from the idea of a personal journey and how often a life can be transposed into an almost film like sequence, therefore documented continously. the way in which the imagery captures a scene yet the contents of the images has no specific subject or memorable factors opposes the reason for them. each of the images above is almost like a still within a film, as they have a sense of narrative, even though there is an obvious lack of subject. when looking at the imagery due to the almost temporary stillness of the images instantly triggers the imagination to generate the narrative of them. this lack of narrative due to subject removal instantly indicates a disconnection as there is an absense.
the use of space and the contents that is present within the imagery, such as mundane almost ordinary objects such as furniture, triggers the mind to link the objects to there prime function thus creating the void in the fact that this is absent within the imagery.
gareth mcconnell
meditations is an on going series by photographer gareth mcconnell by which he captures the encaptulated space of his own personnal bed. by the removal of his presence within the bed it instantly initiates an emptyness or absense due to the strewn covers and aesthetic. the composition that mcconnell has visualised within the image only encounters the space of the bed completely filling the frame this enhances the absence and creates a void of space. also by the envisioned absence from the bed it generates a disconnection of the purpose of the bed and lack of the subject you instantly would presume to see.
Monday, 19 April 2010
anish kapoor
'the void is really a state within. it has to do with fear and inner darkness'
by the unique sculptural language often informed by archetypal images such as void, mountain and vessel, artist anish kapoor, creates large scale installation pieces that have such an empowering presence due to their sheer size. kapoor also uses colour in such a way that the space almost diminishes due to the purity of the hue, by covering his large scale forms in pure pigment he creates a sense of space that is generated by the relationship between the body and the object. also due to the shape and concavity of the sculptures in conjunction with the pure colour creates a void of never ending space that completely disconnects from its environment.
david batchelor - quote
'the monochrome plane can begin to form a small empty centre in an otherwise saturated visual field. a bit of nothing - but more nothingness, a presence that is more like an absense'.
a plane and a void
'in its logic of exclusion and emptying out, the monochrome was in some structural way unable to engage with or embody the experience of modernity'
photography work by artist david batchelor intends to capture a plane of space that is untouched and completely disconnected from its surroundings due to its starkly clean appearance against any regular community backdrop. the way in which the geometric planes of white completely detract from its location distinctively indicate a difference in correlation of the surroundings, thus creating a disconnection in the aesthetic that is communicated from that space. also the use of white and the differentiation of that, insticates an area of void as it almost creates a missing entity.
ricarda roggen
'...the performing furniture is sufficient and its mustiness is counteracted by the cold severity of the composition'
ricarda roggen's photography is extremely reminiscent of the work of sarah hobbs distinctively through the use of furniture and other such subjects in which to create an almost
obsessive cultivated 'scene'. much the same as hobbs, roggen's use of the furniture generates an absense thus initiating a 'void'. the fashion in which roggen has positioned the furniture and used the space only hightens the absence and emptyness felt by the lack of a subject. the compositon of the image creates an almost realistic scene, differentiating it from a simple photo of furniture and this again enforces the 'void' further.
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