Sunday, January 23, 2011

i am always collecting jpgs (i separate them by month) on my computer sort of like a perpetual virtual mood board like fashion designers have. this month's collection so far has a very distinct Color palette, army greens and muddy wine red, mostly. i am thinking of dying some of my mutant clothes and seam drawings so that my portland show reflects this 'color way.' dye seems like a way to change and bite into the materials and revamp them, take them farther from bargain barn loot and clothing cast offs. but is it important that they retain their old color personalities?

I spent today coating my mutant clothes, sari piece and camo piece in epoxy to stiffen them. they look really good and creepy empty. yesterday my family and i went to the city to look at art and some of the things i was really responding to were work that had a very tangible feeling of the artist's handling the work, like i could very visually imagine their process and it was clear they just loved the hand to material experience. (ei. robert brady, manuel neri)

i know that sort of thing just sort of comes out of art when the artist engages in that hands-on experience with it, but i was thinking of ways that my work could feel more like that to people. i already let threads hang and leave seams raw, but what are other ways to show that trace of making and show my revelatory process to people? through my recent experiences with epoxy, i am realizing that i really feel like i am 'making art' when i am engaging in materials that are messy. i had the idea of further stiffening the mutant clothes with something visibily messy like plaster. What if I covered some of the mutant clothes (after epoxy) in plaster?

i also just came across this french artist named emilie faif, who i do find a little too cutesie to be fully inspired by but she uses clothing and fabric in her work and i found this one installation she did involving the pattern pieces to a pair of jeans all laid flat out on the wall.I've been reading one of andrea zittel's diaries, and am very inspired by the way she creates systems and rules that govern her life, and in the diary her life seems so fluidly her art, and all her musings are included, shared with others. i almost feel like blogging is a way to do this, to let people in to what i am thinking (almost) every day even if no one is actually reading. I feel like I am effectively achieving blurring the distinction between my own clothes and clothing i use in my work, but i wonder how i could further embed my systems into my life. or do i even want to?

i have been getting a lot of compliments on the film i did with kira, especially regarding the interaction with my animations and the music i composed. since i have been wanting to do more composing, and have been tinkering a little, i was thinking about making a big goal out of it. i was thinking about the san francisco show at ben's space, and maybe for that show i would do a whole 'album' like series of animations, each with its own customized score. and then it could be a real venue for some sort of performance, music... maybe even some movement... i was really getting excited while i was swimming today thinking about it. i do feel like those films are unique and a good way for me to bridge my music and my art together, and it really feels like 'me' behind it all, i really get that sense of self expression when i show them to people. i think i really need to consider continuing with them.

{photos: from top to bottom, left to right, comme des garcons fw09, jean yves lemoigne,
don't know (from tumblr), lisa kehoe a public loo in norway, manuel neri standing figure (1982), robert brady new work (2010), my own dopplegangers and mutants (in progress), emilie faif patron/ vetement isabel marant


  1. i like this idea of a mood board

    i do the same thing but i didn't know it had a name!

  2. Silvie, I have been reading your blog nearly everyday. It has quickly been incorporated into my daily internet routine.

    I hope you don't mind, I have some thoughts on your epoxy sculptures.

    First of all, I think they are really exciting. I like how they have become hollow and light at the same time they have become organic and bulky. They look very full and important like that. Also, I like how they are still hung on a hanger. I can't put my finger on why I like that so much, I guess at this point the hanger is one of the the things that ties these sculptures back to their origin point as clothing even while they are taking on a new life of their own. It makes the tension between clothing and sculpture more visible and implies a life for these objects outside of an "art" context. It is kind of a bookend - something present at the beginning, clothing--and at the end, installation.

    I think it's interesting how many layers of process you have enacted on these pieces: sourcing the fabric, choosing a pattern, printing, cutting, sewing, epoxying, hanging. There is a lot of information that comes with each process, and I think you could continue to explore how to bring out the parts you see as the most meaningful through your presentation.

    I wonder--what if both ends interacted with a hanger in some way? It could really change the implied body shape from worm to twin-monster, and might be a way to explore the nature of the relationship/connection between the two ends.

    All the best,