Shrinking Violets

Description of the work Shrinking Violets is comprised of two half scale garments in laser cut silk organza, developed with a knotting device to allow for disassembly and reassembly. The first is a jacket in layered red organza including black storm flap details. The second is a vest in jade organza with circles of pink organza attached through a pattern of knots. Research Background This practice-led fashion design research sits within the field of Design for Sustainability (DfS) in fashion that seeks to mitigate the environmental and ethical impacts of fashion consumption and production. The research explores new systems of garment construction for DfS, and examines how these systems may involve ‘designing’ new user interactions with the garments. The garments’ construction system allows them to be disassembled and recycled or reassembled by users to form a new garment. Conventional garment design follows a set process of cutting and construction, with pattern pieces permanently machine-stitched together. Garments typically contain multiple fibre types; for example a jacket may be constructed from a shell of wool/polyester, an acetate lining, fusible interlinings, and plastic buttons. These complex inputs mean that textile recycling is highly labour intensive, first to separate the garment pieces and second to sort the multiple fibre types. This difficulty results in poor quality ‘shoddy’ comprised of many fibre types and unsuitable for new apparel, or in large quantities of recyclable textile waste sent to landfill (Hawley 2011). Design-led approaches that consider the garment’s end of life in the design process are a way of addressing this problem. In Gulich’s (2006) analysis, use of single materials is the most effective way to ensure ease of recycling, with multiple materials that can be detached next in effectiveness. Given the low rate of technological innovation in most apparel manufacturing (Ruiz 2011), a challenge for effective recycling is how to develop new manufacturing methods that allow for garments to be more easily disassembled at end-of-life. Research Contribution This project addresses the research question: How can design for disassembly be considered within the fashion design process? I have employed a practice-led methodology in which my design process leads the research, making use of methods of fashion design practice including garment and construction research, fabric and colour research, textile experimentation, drape, patternmaking, and illustration as well as more recent methods such as laser cutting. Interrogating the traditional approaches to garment construction is necessarily a technical process; however fashion design is as much about the aesthetic and desirability of a garment as it is about the garment’s pragmatics or utility. This requires a balance between the technical demands of designing for disassembly with the aesthetic demands of fashion. This led to the selection of luxurious, semi-transparent fabrics in bold floral colours that could be layered to create multiple visual effects, as well as the experimentation with laser cutting for new forms of finishing and fastening the fabrics together. Shrinking Violets makes two contributions to new knowledge in the area of design for sustainability within fashion. The first is in the technical development of apparel modularity through the system of laser cut holes and knots that also become a patterning device. The second contribution lies in the design of a system for users to engage with the garment through its ability to be easily reconstructed into a new form. Research Significance Shrinking Violets was exhibited at the State Library of Queensland’s Asia Pacific Design Library, 1-5 November 2015, as part of The International Association of Societies of Design Research’s (IASDR) biannual design conference. The work was chosen for display by a panel of experts, based on the criteria of design innovation and contribution to new knowledge in design. References Gulich, B. (2006). Designing textile products that are easy to recycle. In Y. Wang (Ed.), Recycling in Textiles (pp. 25-37). London: Woodhead. Hawley, J. M. (2011). Textile recycling options: exploring what could be. In A. Gwilt & T. Rissanen (Eds.), Shaping Sustainable Fashion: Changing the way we make and use clothes (pp. 143 - 155). London: Earthscan. Ruiz, B. (2014). Global Apparel Manufacturing. Retrieved 10 August 2014, from http://clients1.ibisworld.com/reports/gl/industry/default.aspx?entid=470

Garden of Shrinking Violets

Description of the work Garden of Shrinking Violets is a collection of six half scale garments and three illustrations, continuing the practice-led research project into design for disassembly, developed in the work Shrinking Violets (2015). All garments are constructed in laser cut modules that enable the items to be reassembled in new combinations. The project extended the materials used to include ahimsa (peace) silk, silk organza and silk twill. The pattern pieces have internal laser cut grids of 5mm circles, allowing the textiles to be layered, threaded and knotted to achieve rich embellished surfaces that play with the transparencies and colour overlays of the sheer and opaque silks. Research Background Conceptually grounded in design for sustainability, the aim of the work is to develop approaches to garment construction that could allow users to engage with the garments by adding, removing and reconfiguring elements. This approach to design considers the use and end-of-life phases of the transient fashion garment through considering how the garments can be later disassembled. Research Contribution This construction process is unique in being not only a patterning device but also integral to the garment’s construction. This work sits at the intersection of technical design and craft: the laser cutting and technical approach to developing new forms of garment construction is coupled with the artisanal approach of hand-knotting, a reference to traditional quilting techniques, as a method to layer and pattern the textiles. The technique developed in Shrinking Violets was extended to experiment with different grid structures, knotting devices, and decorative fringing. The result is a proposed construction system in which the laser cut grid and knotting form a decorative patterning device, but are also integral to the garments’ construction. Research Significance Garden of Shrinking Violets was exhibited at artisan gallery’s Ivory Street window, Brisbane, January 18 – February 28 2016. The work was selected by artisan gallery exhibition curators. As part of artisan gallery’s public programming, the author participated in a panel discussion: ‘Constructive conversations: deconstruction and reconstruction in contemporary craft and design’ with jeweller Elizabeth Shaw and visual arts lecturer Courtney Pedersen, 20 February 2016. Photography used in illustrations by Jonathan Rae

The Instabooth

The InstaBooth is a portable demountable interactive installation for situated community engagement. Its aim is to give a voice to communities who can share their thoughts and ideas in an unstructured and playful way that combines digital technology with tangible materials. It is constructed from standard CNC-cut plywood stock and plans for its construction are available for others to download and use. Its modular design accommodates a range of bespoke interactive technologies, both analogue and digital, designed to facilitate the engagement process by providing means to present different materials and offer different ways to collect feedback. The appearance and interactions of the booth are designed to appeal to different demographics and foster an interactive discussion about a range of different topics such as change management, policy development, and urban planning.

Quick Draw

'Quick Draw' is an installation integrating large-scale fabric works along with a lecture performance recorded as a digital video. 'Quick Draw' engages pictorial, literary and vernacular quotations in order to replay and reveal the complexities of gender politics, representation and language. In particular, it examines the relationship between abstraction, feminism and painting, following through an iconoclastic impulse that is at play in these histories. 'Quick Draw' was developed and presented as a solo exhibition for Seventh Gallery, Melbourne in 2015. 'Quick Draw II' was revised for the exhibition ‘Like A Burden’, held at Metro Arts Galleries, Brisbane in 2015.

Unthinkable II

'Unthinkable II' is an installation integrating a large scale fabric work along with a lecture performance, recorded as a digital video. This work critically examines the engendering of language in relation to histories of conceptual art and abstract painting, reframing material language as part of a broader practice strategy to re-perform a subjective feminist archive. This installation was developed and presented as a solo exhibition for Blindside Gallery, Melbourne in 2015.

Like a burden

'Like A Burden' was an exhibition developed and presented for Metro Arts Galleries in 2015. It drew together several large scale fabric works 'Heavy Thinking'; 'Quick Draw II' and 'Well Hung' within the gallery space, along with a large series of ink and pencil drawings and a lecture performance recorded and projected as a digital video. This body of work foregrounds the activist feminist voice through quotation, citation and reiteration and is part of a broader practice strategy to re-perform a subjective feminist archive.

Unthinkable

'Unthinkable' is an installation comprising drawings and fabric works, which were placed onto a large-scale wall painting. This work engages with the gender politics of art criticism through strategies of redrawing, in particular the commentary that Helen Frankenthaler's painting practice was 'unthinkable' without Jackson Pollock. 'Unthinkable' was developed and presented as part of BEAF 2013: Brisbane Experimental Art Festival, curated by Rachael Parsons and Stephen Russell, held at the Judith Wright Centre of Contemporary Arts.

Extended Conversation Pieces

'Extended Conversation Pieces' brings together conversations about art, and conversation as art. The exhibition features collaborative works by six Brisbane-based artists, Catherine or Kate (Catherine Sagin and Kate Woodcroft), Scott Ferguson (Erika Scott and Brooke Ferguson) and Courtney Coombs and Caitlin Franzmann. These artists engage with ideas of contemporary feminism through processes of dialogue and exchange; exploring subjectivity, humour and intimacy in performance and installation works. 'Extended Conversation Pieces' showcases the distinctive approach to contemporary practice at Boxcopy, an artist run initiative focused on supporting and commissioning new experimental works by Australian artists, and engaging with collaborative processes and practices. This project was commissioned by the Melbourne Art Foundation and presented at the MAF Project Rooms, Melbourne Art Fair, Melbourne in 2014.

Conversation Pieces

This curated exhibition presented works by Australian artists Agatha Gothe-Snape, Alex Martinis Roe and Hannah Raisin and collaborative works by Catherine or Kate (Catherine Sagin and Kate Woodcroft), Scott Ferguson (Erika Scott and Brooke Ferguson) and Courtney Coombs and Caitlin Franzmann. These artists engage with ideas of contemporary feminism through processes of dialogue and exchange, exploring subjectivity, humour and intimacy in performance and installation artworks. These works are generated by physical, verbal or textual dialogues between collaborators, participants or the artist and audience; and spark a conversation about contemporary feminist art practice in Australia today.

Material matters [curators]

The exhibition material matters brings together new works by Amy Commins, Jamie Behrendorff, Grace Kevill-Davies, Zoe Knight, Ruth McConchie and Courtney Pedersen – Brisbane-based artists whose experimental practices engage with materiality in specific ways. These works explore incidental viewpoints, suspended moments, constructed environments, cultural memory and repetitive processes. The artists in the exhibition investigate the temporal in terms of making and experiencing art in various modes – installation, sculpture, video, sound and works on paper. Through these material engagements, the artists question and re-imagine ways of connecting in the contemporary world, drawing together considerations of humour, history, politics, nature and everyday life. This exhibition was part of the 2014 Brisbane Experimental Art Festival, held at the Judith Wright Centre of Contemporary Arts.

Stone baby: An exploration of affect and trauma in visual art

Stone Baby: An Exploration of Affect and Trauma in Visual Art was held at the Block, QUT Creative Industries Precinct on August 27-28, 2014. At the conclusion of my Masters project, this exhibition was a showcase of the outcomes of my material and digital explorations in the form of installation, sculpture and film. My primary motivation can be described as a relational and ethical attempt to find a balance between the erotic and the aggressive. This is experienced in the self as feelings of attraction and repulsion in response to the new and unknown "other". Consequently creative practice is necessarily a complex affair that is experienced as a completely immersive and self-contained psychological space. It is within this space that both physical sensation and raw emotion are able to tangibly and conceptually interact with psychoanalytic theory, and concrete materials video and sound.

Quaternary [Guest Curator]

The curated exhibition, 'Quaternary' was held at the QUT Art Museum in 2015. Dr Courtney Pedersen was the guest curator. The aim of this curatorial project was to identify and analyse the work of a selection of women artists whose practices utilise the affective power of colour in compelling ways.Taking its cue from the Australian artist Thea Proctor's claim in 1938 that women artists make better colourists, the exhibition explored the enduring nature of this perception by presenting a range of contrasting approaches to colour. 'Quaternary' was the second iteration of QUT's triennial exhibition series, which explores the University's open-studio, cross-disciplinary approach to studying art. The artists include: Bianca Beetson, Chantal Fraser, Rachael Haynes, Natalya Hughes, Alice Lang, Gemma Smith, and Jemima Wyman.

Warning constraint limit experience

'Warning constraint limit experience' is an installation comprising drawings, a large scale fabric work, and a performative video. This work explores the performative act of drawing and the limits of language and subjectivity. The fabric work acts as a bodily extension that both facilitates and constrains movement during the drawing process and operates as a provisional structure for viewing the work in the gallery. This work was developed and presented at The Lock-Up Cultural Centre, Newcastle NSW in 2011 and revised for the solo exhibition ‘I build my dwelling’, held at Metro Arts in 2012.

Language is, language is not

‘Language is, Language is not’ is an installation comprising wall drawings, a fabric drawing prosthetic, performance and digital video. This work investigates ‘redrawing’ as a revisionist feminist strategy, taking as it’s starting point Mel Bochner’s work ‘Language is not Transparent’ (1970). 'Language is, Language is not' functions as both homage and critique, drawing on the legacy of conceptual art and questioning the engendering of language that it implies. This work was developed and presented for Bus Projects, Melbourne in 2012, and subsequent versions exhibited at Screen Space, Melbourne and Metro Arts Galleries, Brisbane.

Muscle flex

'Muscleflex' is an installation comprising large scale fabric works, wall drawings, performance and digital video. The large-scale fabric works act as bodily extensions for two performers and constrain movement during the drawing process. These drawing performances are documented and re-presented as digital video works. This work examines the limits of language and subjectivity and offers a feminist engagement with the history of abstract painting. 'Muscle flex' was developed and presented for KINGS Artist Run Gallery, Melbourne in 2012 and revised for the exhibition 'I build my dwelling', at Metro Arts Galleries, Brisbane in 2012.