RCA2020面料毕设(三) | 保护者：在自然中，当我变成我们
RCA2020面料毕设作品（三）
在自然中，当我变成我们
Being in Nature: WhenMe Becomes We
“保护者”
The Preservers
它们为各种形式、物质和故事注入了新的生命，
它们反思过去的，推动改变，
以培育、维持和保护周围的生态系统
Jinhee Park
What if I could design my own funeral?
Death is the most important, and only inevitable, part of our lives. This project started from the question, “what if I could design my own funeral?”
Characteristics of funerals and biographical elements of my life are expressed metaphorically through a fashion collection. The silhouettes come from the sculptures of Antony Gormley, which are a representation of the coffin. For the colour, which is mainly black and white for this collection, colours representative of a funeral. The patterns and materials used embody the journey of my life.
Hanging mobile with knitted textiles
Collaged image with knitted textiles
Knitted textile— Viscose
Knitted textile— Monofilament with silicon
knitted textile— Viscose
Hannah Elisabeth Jones
Lliw Lleol: Valuing Colour from Locally Foraged Plants Throughout the Year
‘Lliw Lleol’ (Local Colour) is a comprehensive natural dye database, investigating colours obtained from locally foraged common plants and weeds. The database tracks the seasonal changes throughout each month and maps the connection to specific geographies in Hannah’s home of North Wales.
Since September 2019, Hannah Elisabeth Jones has documented mordant-free colour from 54 plants and she will continue foraging each month until August, to collect a year’s worth of research. Hannah uses unbleached, organic materials and carefully forages a small quantity of plants that are abundant in the local area, to conserve and protect each species.
The consumer society rarely considers the origins of colour in materials. Therefore the purpose of this research is to heighten awareness of how colours and fibres are either grown naturally or chemically synthesised. Ultimately, 'Lliw Lleol’ encourages acceptance and emotional durability of mordant-free, naturally dyed materials and promotes conscious consumption, or better still, less consumption of materials altogether.
Plants from May 2020
Sloes berries
Colours from March (upper row) and April (lower row)
Rose-hip
Fibreboards and vessels created using left-over plant matter from dyeing
Lisa Naunheimer
What makes a piece of clothing become a cherished treasure?
This is a collection about the love for clothes. It tells the stories of the relationships a group of special women I grew up with have with their favourite pieces – pieces that they kept and cherished over years. The collection aspires to remind us of how our relationship with our clothes could or should be. Each item embodies a different set of values, a different kind of relationship that makes it so precious to their owner. I work with handcraftsmanship, natural dyes, waste and leftover materials. I’m creating soft, delicate almost fragile textiles that require to be looked after and taken care of, using deliberately slow labour-intensive couture-like techniques to underline and demonstrate their value and beauty for everyone to see and appreciate.
Xuran Li
CAN EMBROIDERY REPRESENT BOTH STRENGTH AND FRAGILITY?
I love the fragility and also the splendor of peony in my hometown, which could represent both strength and fragility of residence in Loess Plateau. And also it represents the birth and rebirth and the whole life cycle, which displays a transformation and fresh look of Loess Plateau.
project mood board— the concept of Jin Evolutionism
embroidery test
embroidery sample— Translate my painting for Loess Plateau into embroidery
3D embroidery test
Embroidery sample on body
line-up
process: material research
Experimenting and making process
Mazlyn Ortiz
Does a child’s oblivion result in an adult’s ignorance?
During the COVID-19 pandemic, Mazlyn Ortiz found sanity within repetition whilst projecting the heavily layered issues surrounding the current climate onto her work.
Ortiz used abstract forms and mark-making to display frustration and vulnerability. Casually approaching the techniques with a child-like sense of abandonment, stripping down to a layered narrative that is left to be found and picked up again by the viewer.
The use and contrast of the ‘found object’ tries to communicate not only what it once was, but how it motivates one to act in a certain way.
The random details and sense of disarray within the resulting structures brings something hauntingly familiar, whilst conveying the viruses' effect on society and the individuals within it.
SHE GOES, “NO! YOU’RE ON DRUGS!”
I GO , "MOM, I'M OKAY, I'M JUST THINKING"
& SHE GOES, "NO! YOU'RE NOT THINKING YOU'RE ON DRUGS! NORMAL PEOPLE DON'T ACT THAT WAY"
ALL I WANTED WAS A PEPSI
JUST ONE PEPSI
& SHE WOULDN'T GIVE IT TO ME
Peipei Wang
How do textiles narrate memories?
"My memory is driven by objects, or by feelings about natural scenes. I wanted to transform these fleeting images and intangible, fragmented memories into tangible textiles. Therefore, I have "written" a book using textile language to narrate my story in a tangible way, where words translate into textures, verbs transform into the action of touch and subjects are replaced by colours and patterns."
Textile samples
Handwoven piece— exploring fluidity and sensitive textures
A page in the Memory Book
Handwoven sample details
Handwoven sample
Megan Willis
Visualising the Intangible.
This project explores the notion of an archetypal human need to visualise the intangible, looking beyond the everyday to bridge the gap between worlds. It is about how this once religious notion is translated into a modern, secular society. Working collaboratively with a music producer and a 3D designer I have explored the two most important aspects of the material culture of shamanic rituals - the costume and the drum. The electronic pulse of the music - representing the drum – was recorded through an oscilloscope. The visuals from this process inspired the design of the fabrics. The peristaltic motion of the animation is an x ray into the imagined being that inhabits the sculpture
double2
double 3
double 3
This project explores the notion of an archetypal human need to visualise the intangible, looking beyond the everyday to bridge the gap between worlds. It is about how this once religious notion is translated into a modern, secular society. Working collaboratively with a music producer and a 3D designer I have explored the two most important aspects of the material culture of shamanic rituals - the costume and the drum. The electronic pulse of the music - representing the drum – was recorded through an oscilloscope. The visuals from this process inspired the design of the fabrics. The peristaltic motion of the animation is an x ray into the imagined being that inhabits the sculpture.
Wenxuan Zhou
Why is it important for today's young people to inherit traditional handicrafts?
This project captures Wenxuan's fading childhood memories, while exploring her own creative narrative; how and where her find peace within her own creative practise.
Wenxuan have used this project to document the objects special to her childhood, starting with the re-creation of a cubical sandbag her grandma had made over 30 years ago.
Choosing to work in clay, she was really inspired by the ancient painted potteries displayed in the Dunhuang Mogao Grotto in Gansu, China after a recent research trip.
Linked with her knowledge of screen print and natural dyes, she chose to learn and explore a combination of traditional Chinese craft techniques combining printmaking, Pakou embroidery, woodworking and Batik with the aim of capturing and bridging past and present.
a traditional wooden box— it found in my grandparents’ house, which filled with albums, diaries and my childhood memories. (Length: 15.5cm/ width: 12cm/ height: 11.5cm)
a Chinese traditional hand-made stool— it recalled in my grandparent’s backyard. The flora on it is the Chinese flowering crab apple, the fruit of which is commonly used as Chinese herb, and it was my grandma’s favorite flower. (Length: 28cm/ width: 11cm/ height: 25cm)
a traditional Chinese medicine cabinet— it from my past grandfather, who was a pharmacist and knew both Chinese and Western medicines. The patterns on the cabinet records the process of germination, blooming, and withering of beans and Chinese flowering crab apple as metaphors for the connections between my generation and my grandparents’ generation. (Length: 12cm/ width: 10cm/ height: 31cm)
a close-up image of the traditional Chinese medicine cabinet.
a traditional screen— it in my grandparents’ living room. The pattern on the screen described the process of my grandmother planting flowers and sewing sandbags. (There are three screens, each screen: Length: 9cm/ width: 1.2cm/ height: 16cm)
a traditional closet— it remembered in my grandparents’ bedroom. It has a pair of screen-printed doors, and was dyed with logwood inside. (Length: 21cm, width: 13cm, height: 22cm)
process and research 1— draw the flora in my grandmother's backyard from my memory.
process and research 2— learning how to make a stool using a traditional technique- mortise and tenon joint in a rural area in China.
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