Alyssa Choat. C03012 Master of Design (Research)

Transcription

1 Alyssa Choat C03012 Master of Design (Research) 2014 i

2 CERTIFICATE OF ORIGINAL AUTHORSHIP I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. Signature of Student: Date: ii

3 Acknowledgements, Vicki Karaminas, Cecilia Heffer, Todd Robinson and Sue Osmond for their support guidance and knowledge. Sarah Adamson, Jordan Munns, Waded, Steve Brown for their creativity and inspiration. Glenn Rhynehart, Pam Peterson, Graeme Choat, Kate Choat, Miriam Drury, Matt Choat for all their ideas and support. iii

4 Contents List of images vi Contents iv Abstract vii Introduction 1 Research Enquiry Supposition 1 Conceptual Fashion Design: Situating the Research within a Contemporary Fashion Enquiry 2 Methodology 8 Material Thinking as a Conceptual and Theoretical Practice 9 Structure of the Thesis and Explanation of Practice Research Component 13 Figurative Series 13 Shroud Series 13 Mask Series 14 Chapter 1: The Figurative Series 15 Figurative Series: Project 1 Fracture Representation 20 Photographic Realism and Representation 21 The Authentic 23 Figurative Series: Project 2 Absent Bodies 25 Artistic Practice: Wet-Drapery 25 Chapter 2: The Shroud Series 29 Perception 29 Progression from Modernist Hetero-masculine Theory into the Post Modern and Feminist Discourse 30 Shroud Series: Project 3 Beneath 34 Creative Practice 36 The Abject 39 Illusion and Distortion 44 Shroud Series: Project 4 Tunnelling In 48 Creative Practice 48 iv

5 Gaze, Perception and Power 49 Internal and External 51 Shroud Series: Project 5 Moving Collage 52 Creative Practice 52 Perception and Embodiment 54 Representation and Post-Modernism 57 Shroud Series : Project 6 Bulk 59 Creative Practice 59 Identity and Narrative 65 Vision and Embodiment 65 Chapter 3: Mask Series 70 Mask Series: Project 7 Reveal/Conceal 70 Conclusion 75 Bibliography 76 Appendix 1 Revelation Through Concealment: Curated Works 80 Appendix 2: Terminology 145 v

6 List of Illustrations Figure 1: Maison Martin Margiela s decaying garments on the outside of the Museum Boijmans van Beuningen, Rotterdam (1999). Performing Ecology, Pt 1 (Introduction) February 26, 2013, viewed on 14 th March 2013 < 5 Figure 2: Son of Sonzai, (2011) Hussein Chalayan, Royal Academy of Arts, London. Chalayan, Son of Sonzai Suru, viewed on 18 th March 2012 < 6 Figure 3: Foundation (2004) Shelley Fox. Study and Telephone Room, Belsay Hall: Northumbria, 2004 Photo: Keith Paisley. Fashion Projects Issue #3 2010, New York Foundation of the Arts viewed on 26 th July 2013 < 7 Figure 4: Estelle, (2011) Alyssa Choat 18 Figure 5: Kate, (2011) Alyssa Choat. 19 Figure 6: 9 Marilyns, (1967) Andy Warhol. 20 Figure 7: The Veiled Christ (1753), Giuseppe Sanmartino ( ), the Museo Cappella Sansevero at Napoli. 26 Figure 8: Saddle (2000) Janine Antoni. 27 Figure 9: Untitled I, (2013) Alyssa Choat. 35 Figure 10: Textile Print Designs used in the Project 3-6 (2013) Alyssa Choat. 37 Figure 11: Abject Textile Print Design (2013) Alyssa Choat. 38 Figure 12: Untitled I (2013) Alyssa Choat. 42 Figure 13: Untitled IV, (2013) Alyssa Choat 44 Figure 14: Untitled III, (2013) Alyssa Choat. 46 Figure 15: Front Tunnel, (2013) Alyssa Choat. 50 Figure 16: A working shot of Moving Collage (2013) Alyssa Choat. 53 Figure 17: Unbody, (2013) Alyssa Choat. 54 Figure 18: Corrugated Body II, (2013) Alyssa Choat. 56 Figure 19: Black, (2013) Alyssa Choat. 58 Figure 20: Digital textile print artwork onto polyester satin. 59 Figure 21: Digital textile print artwork onto polyester satin. 60 Figure 22: Washer Woman (2013) Alyssa Choat. 62 Figure 23: Akata Masquerade, (2004) Eshinjok Village, Nigeria (Galembo 2010 p69). 63 Figure 24: Koko Ekpo Masquerade, (2005) Calabar South, Nigeria (Galembo 2010 p103). 64 Figure 25: Washer Woman II, (2013) Alyssa Choat. 68 Figure 26: Digital textiles print artwork onto matt polyester satin derived from photographs of Beneath (2013) Alyssa Choat. 71 Figure 27: Digital textiles print onto matt polyester satin and onto unfinished Goat Leather (Crust) (2013) Alyssa Choat. 72 Figure 28: Digital textile print onto linen (2013) Alyssa Choat. 72 vi

7 Revelation Through Concealment Abstract The title of this research project, Revelation Through Concealment, is derived from a quote by art critic David Bourdon s description of Christo and Jeanne Claude's art practice involving the wrapping of monuments and landscapes in fabrics as a revelation through concealment 1 thereby revealing the form and shape of the object in the draped cloth and creating a new surface. As such, the title effectively captures the research that is being undertaken in this project which consists of a practice based work and a written component. The practice consists of a series of research projects that explore the body and concealment which culminates in a range of four looks involving a combination of masks and garments. Through interpreting the dressed body as a static object, the garment design situates the work within a conceptual fashion context, one that encompasses performance and the investigation of concepts and discourses concerning the body. The textual component outlines the framework through which representation, the gaze, the body and identity are being investigated in the creative work and situates the body of work in a context of other contemporary fashion practitioners that are exploring the body within alternative contexts. 1 Bourdon, David: "Christo", Harry N. Abrams Publishers, Inc., New York City, 1970 vii