contexture review for part 2

contexture review

Ziqian Zhu

Introduction: In part 2, we did a total of 4 projects (human story, fusion project, project U, function and performance).

In the second part I realized that I had been working as a designer. I can convey the direction and mood I explore in the subject through collage, visual communication and experimentation. In my process, I gradually added a lot of design considerations, such as modeling, printing pattern, and structure of clothing details. Most of the inspiration of these designs comes from my personal experiments. I don't know whether it is feasible to design directly based on the research pictures, but compared with the design on paper, experimental/experimental observation painting is more suitable for me. It may also be caused by my personal working habits. During the production of part2, I found that I was full of destructive desire for my research object. I think I prefer to experiment through deconstruction rather than clothing or the structure of an object. Before deconstructing an object, I will first understand the deconstruction of the object, so as to have a clearer understanding of the composition of the object. In the following portfolio project, I want to study the deconstruction of objects/human bodies from 2D to 3D and 3D to 2D. I want to improve my understanding of the deconstruction of an object through 2D painting, and develop my ability in making prints through a large number of paintings. In the design process of part 2, I encountered a series of problems, especially in the part of clothing development in project U. I adopted the collage method to transform my experiments and collage my experiments on human bodies, and I began to carry out the creation and painting. In this process, I realized that my understanding of costume deconstruction was not enough, so my costume deconstruction was very similar and seemed to be planar rather than three-dimensional. I want to learn more about clothes. I began to explore the deconstruction of clothing and found the source of the problem. In the work of part 2, I usually did stereoscopic cropping by looking at my painting, because the painting itself is 2D, which requires a stronger imagination space to transform into 3D. At the beginning, I did stereoscopic cropping by looking at my experimental pictures. In the experiment, I used fire to burn the suit model I made, because the model I made was three-dimensional, so it was a transition from 3D to 3D. Burning the flame in the suit was the most troublesome part for me, because the flame was a state of gas and it was difficult to define its deconstruction. But in the next part 3 I want to explore more about the physical model and the gas. I want to use contractile and movable structures to define the images that gas gives me, such as the contraction of balloons, and the disassembly and splintering of magnets.

In function and performance, I learned how to directly express the texture of clothing with materials. The Hu spin dance from Mogao Grottoes in Dunhuang, China was selected for the performance. In the Hu spin dance, there were many folds of texture and flowing silk ribbons. I folded and painted the glue with texture to show the appearance of this kind of clothing. I like the exploration of materials in this project, such as folding fabrics, weaving with discarded food packaging, exploring traditional printing patterns and so on. In the future projects, I hope to combine my knowledge and skills to create experiments with richer textures and patterns.

For me, the paintings of Georgia Gardner Gray have a great influence on my painting style. In her works, the figures she paints are full of personality. These figures always appear in an unusual state or posture. I got to know this artist for the first time when I visited her personal works exhibition. In addition to her paintings, I was also greatly inspired by her sculptures, which are like transforming her paintings from 2D to 3D. For example, the lower body of a man wearing pants hung on the top of the exhibition. Dead soldiers in fatigues covered in blood lying on the ground, linked lovers' statues and so on. I began to make observational paintings on these flat and three-dimensional works to capture the colors and emotional expressions of the figures in the paintings. I found that she paid much attention to the clothes of the figures in her paintings. She was good at capturing people's personalities. And a man who was so obsessed with her that his hands broke apart. Through her works, I began to look for artists who made weird sculptures. Louise Bourgeois was also an artist who inspired me a lot. She was also good at transforming her 2D paintings into 3D sculptures. Different from Georgia Gardner Gray, there are a lot of textile elements in Louise Bouorgeois' works, which bring a lot of inspiration to my fabric samples.Bernard Aubertin is a flame artist. He likes to create various textures on paper through flames and matches. His works inspired me a lot in the development of fabric.

Conclusion: After part 2, I have a clear understanding of the development of the project, especially in the aspects of fabric and three-dimensional cutting. I think more consideration of the 3D structure of clothing is more beneficial to me. Yes, I hope to try to use more materials for creating 3D sculptures and integrate them into the costumes.

bibliography：

https://www.mayorgallery.com/artists/59-bernard-aubertin/

https://www.abc-arte.com/en/artists/71-bernard-aubertin/bibliography/

instagram.com/_g_g_g_/

https://www.frieze.com/article/painterly-precision-artist-georgia-gardner-gray-reveals-female-fears

https://www.tate.org.uk/art/artworks/bourgeois-cell-xiv-portrait-al00230

https://www.nationalgalleries.org/art-and-artists/125296/cell-xiv-portrait-2000

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