Friday, March 7, 2008

From Wikipedia

A costume drama is a period piece in which elaborate costumes, sets and properties are featured in order to capture the ambience of a particular era.

The term is usually used in the context of film and television. It is an informal, cross-over term that can apply to several genres but is most often heard in the context of historical dramas and romances, adventure films and swashbucklers. The implication is that the audience is attracted as much by the lavish costumes as by the content.

The most common type of costume drama is the historical costume drama, both on stage and in movies. This category includes Barry Lyndon, Braveheart, Rob Roy, and Robin Hood. Plays that took place in the 1930s and 1940s, such as Last Man Standing, may also be placed in this category. This type of costume drama is usually shown as a movie or a TV series. Examples of this category include Marie Antoinette, Middlemarch, and Pride and Prejudice.

Saturday, December 22, 2007

Tuesday, December 18, 2007

Bird Flu

I can confidently state that all of my work is consistently a physical portrayal of a personal journey that I am experiencing at the time of its making. Being a young designer and being in a place in my life where I am in a constant state of transition, the content and structure of my work is drastically changing from one theme to the next, nonetheless always developing from the past. Through my passion of garment making, I am given the opportunity to challenge myself and share my thoughts and experiences through the world of fashion. Fashion and clothing are such tangible and accessible ways for people to converse on what is going on around them and within themselves. The essential role of the designer is to do simply that; to make aware through garment making, the journeys and happenings of what exists inside and outside of them. Whether that involves personal, social, or political interests, it is up to the designer to share.
The past few months, starting with the beginning of the summer, has been the start of a truly eye opening experience for me. I began confronting and discovering many facets of myself that have been pushed so far down, convincing myself almost completely of its unimportance. Due to fear and ignorance, my inner demons have remained fairly dormant, only deciding to come up sporadically and rapidly fermenting along the way. I began to address many personal discomforts and seeing distinct patterns within my family and myself and I had only touched the surface of before. What I had earnestly been starting to confront was this constant state of anxiety that is perpetually at my side. It likes to come forth more fervently at times, or is more subdued at others, but its existence remains with me always. There is not one single cause for its presence, as with most psychological characteristics, but the one thing that I have learned to accept is that it is and always will be a constituent of myself.
Every human mind is plagued with grief, guilt, penance, and mourning. When these natural reactions begin to dwell and prolong their stay of normalcy, they begin to consume and engross all thoughts. It is as though the body and mind become separate entities, anxiety level rises, there becomes a lack of control of the natural ability to communicate and sometimes cause one to reach the point of insanity. There is a repetitive act of giving and feeding to these contained emotions and what is around us, though it becomes entirely circuitously self-destructive. There becomes a point where there is nothing left to give and what remains in the self stripped to its most bare form, to its’ true core.
In my collection this year, I am directly addressing the fact that I am in this constant state of conflict. It is as though my mind and body are eternally at war with each other and with themselves. The best way that I have been able to communicate this kind of battle is through a series of masks that I have began to form. Arriving strictly from one continuous thread, the masks appear as lace like structures that share the quality and appearance of a mass of loose hair. Placed over and sometimes around the entire head, the identity of the wearer is obscured, with some irregular openings where the threads have allowed light to come through and the skin and features of the face are visible. Even in these somber, deconstructed forms, beauty can be seen.
Below are some studies of the masks that I created








Friday, December 14, 2007

Artist Statemet

The imagery in my drawings are influenced by my general interests and a subconscious reaction to the world around me at a certain point of time. Although these drawings are sporadic and intuitive I have developed a system of mark-making with line and shape that serves as a language which ties my imagery together. I begin drawing by using this system as a way to trigger my thoughts and create images. The sculpture is inspired by my drawings and the process of making them become these rituals that are very similar to each other. I begin this process by gathering materials such as the bright vinyl and the string that relate to the color palette and line quality in my drawings. Surrounded by these materials i look at them the same way that i would look at the mark-making in my drawings. There is something stimulating and satisfying in the challenge of collecting materials and arranging them in a way that compliment my drawings.

Petting Stole and Collared Sisters



Collared Sisters is a way for myself and my sister to connect over the loss of our Grandmother. Seeing my sister cry at the funeral made me feel a connection to my sister that I had never felt for her before. I wanted to make a garment that could reenact the feelings I've been feeling. My sister and I have never been close but I feel this garment has brought us a little closer.





Petting stole comes from a dream I had after the death of my Grandmother. In the dream there was a woman petting a taxidermied fox. I felt the dream was a communication from my Grandmother because foxes can symbolize the spiritual world as well as messengers. I made the stole so I may take the fox anywhere and find comfort in petting it. I photographed at my childhood home. I feel the stole is a way for myself to connect that spiritual world my Grandmother has now joined.

statement

Ever since I was a little girl, I have loved to sew. However, when I became interested in Art, dress-making was not a part of it. It wasn’t until coming to art school and being exposed to a wider variety of artists did I realize fiber to be as legitimate as painting or sculpture. Yet the question remained; why garments? After wrestling with this over the last few years, I’ve decided that I simply love to sew. The garments I make are meant to suggest narratives and emotions. Fabric creates a sense of intimacy: it is tactile and familiar.
            My current work is about uneasiness. To express this I have created a series of costumes that illustrate an indirectly autobiographical fairy tale. Various animals represent different parts of my life. The character of the hunter represents an indefinable ever present threat. Currently, I am using scale and gesture to cultivate the ethereal feeling of a dream. This reflects the way things are sometimes warped in retrospect. I also explore feelings of powerlessness and the desire for comfort, physically and emotionally. Fabric and garments have a tenderness which I feel emphasize my ideas.
            It is important to me that my current series functions as both wearable fashion and sculpture. I feel that fashion items should be appreciated as static objects as well as on the body. The detailed surface embellishment I am attempting to impart on each piece will make them more interesting when stationary. I am also creating forms on which to display the garments, which are specific to each one. This will allow me to add depth to the narrative as well as demonstrate both the aesthetic and functional nature of each piece.

Final Project: Natty Boh

(No longer in order.)