Patterns, simulated textures and odd juxtapositions are revealed here in quirky perspectives. Castle Diaz presents female beauty as a kind of half hollow statue where Rauschenberg meets Duchamp meets Vogue’s Erte with Art Deco flair. We certainly construct our identities with a relationship to our inherited past.
Whether the flora and fauna of the environment take over in ambiguous disguise
or if provocative hidden agendas trap our identity with pseudo disregard,
wouldn’t it be fun to just throw away all our knowing baggage and pretend we were something else, utterly?
According to Versace, women no longer have a role in the world of fantasy but are about the real world. Women have an obligation to show their strength, diverse beauty, and intelligence. Does fashion represent the woman differently today than it did ten years ago? In my opinion, back then, fashion was caught up with revealing our sexuality, and sensuality self-consciously. I think now, the crux is what we do with our empowered selves because sharing that power is what will make a difference. The alchemy between inhabiting clothing and audience will persuade new justices, new identities and therefore new tolerance and new inclusive liberation. Maybe this is what equality means.
Sounds like we better show ‘m how it’s done, be the present, and strut the future with our own voices.
I am nostalgic around an exhibition I created early this year from my residency at Oxygen Art Center in Nelson, BC. I thought I would share some of the performance that came out at that time. I created the set, directed and choreographed the movement and momentary stills of the performance called Glamourie. You can visit the intentions of the concept here-http://www.samtalbotkelly.com/news.php.
Fantastic creatives: Architect and dancer Thomas Loh, Teyana Neufeld, Lynn Dragone, Ho Soon Yeen along with a giant teddy bear were the performers wearing specific costumes who bump into each other on a dilapidated, topsy turvy, insecure ‘vessel’. Ships and vessels are typically with ends at the bow and stern. My ‘ship’ had signs of foreboding and comfort, dark and light, stable and insecure at either ends. The narrative wasn’t visually linear with characters moving in and out of space from a beginning act to an ending act. Rather the performance was happening before the audience knew it was happening. These characters pre-existed in the entire space before the audience came in, as if they inhabited it for an uncertain amount of time, as seemingly unrelated people with random connection. The audience stumbled into their space of ‘happening’ and together performers, audience, time and space collapse into a collective ‘real time’.
The ‘vessel’ set jutted out on a diagonal from one corner and extended over to the opposite corner. The center of the vessel found the characters colliding and culminated into a vortex of uncertainty. None of the four knew what to expect from the other, none of the four knew if they could trust one another. They circled together ambiguously without trajectory, without destination, without fully knowing who each other were, yet the attraction to pull through and out of the culminating maelstrom peak was strong. A reliance on instinct came upon them, on that which they couldn’t perceive, not of each other’s powers but on some oblique acceptance and perhaps responsibility to that which is beyond themselves.
People often get stumped by nonfigurative art. Ellsworth Kelly convinces us of the value of staying in the present, and abstract painting is his vehicle for attending to that larger mystery. Abstract art really does take time like he says in this interview with SFMOMA https://www.sfmoma.org . There is no story when looking at his work, our body and instincts respond. We can get lost in colors, shapes, feelings and memories when looking at abstractions. That is a beautiful thing.
Many of you have probably heard of the Mushroom Burial Suit conceived and invented by artist Jae Rhim Lee. It is brilliant and something to seriously think about. In fact I think I might have to re-write my will. If I believe humans as a species are intrinsically connected to the planet then I should eat my words around being responsible on how I leave this earth plane. Cremation is pretty toxic. But Can I forgo cremation? I love having the ashes of my parents, and I want my kids to have them of me. To decline on cremation the option of The Mushroom Burial Suit makes sense from an environmental perspective listen here…
Below is her experimentations of mushrooms that could decompose her nails, skin and hair which I believe are already outgrowths of biological waste we naturally eliminate.
MUSHROOMS have this capacity to live on and on and on and on decomposing the world around us in a profound system of communication with co-habitors on this planet.
Mycelium Learning at the Edge says
The mycelium organism is the root system of mushrooms; an underground network that connects to the roots of plants and trees and distributes nutrients and information to support the health of the whole ecosystem. This adaptive, pro-health organism is a teacher for us as we ask, “How can humans more successfully interact with each other in ways that nourish ourselves, each other and the world.” http://mycelium.is/about-us/
Well something to contemplate and imagine, right? Could you take this radical step? Perhaps in the meantime if we eat more mushrooms to boost our immune system an illumination will arrive.
A dream of mine is to costume dress and set design a film narrative or stage that takes place in the 20’s. That dream might be near or far, I don’t know, however in the meantime, I thought I would share some of my favorites from that time period. Now, if this dream doesn’t come true? Well, obviously I will then have to throw a 20’s dress up party. That would mean everyone who attends the ‘partay’ is living in a 20’s fantasy as well. Just for a sec let’s marry and attend a je ne sais quois Great Gatsby-esque kind of decadence.
Great Gatsby theme
It is close to summer, a time for weddings; the ideal party that grooves at every hour, into everlasting forevers.
1920’s wedding flapper dress
The drape, the fall, the span of form with accessory, the heavy with light fabrics and the slight contrapposto take us into the 20’s mood of dress.
vintage wedding dress
The details of pearls and appliqué, beads and feathers, the transparency and opaque, while loose and assembled offer a comfortable possibility and for the ‘partay’.
To indulge you a little bit of vintage silver screen hollywood is here. Yolan Cris is a remarkable fashion house in Barcelona http://www.yolancris.com/yolancris/us/
Her pose feels stiff and contrived, however her gown is more unfixed than those of today and carries a more detached allure. Ballet shoes might also indicate her identity with performance.
Like architectural space, the space of garment as container manipulates our behavior to move around in the world specifically. Garment is contingent upon context. Whether we are in the first photo or the one above sophistication and elegance is declared and has us piping a long cigarette in our satin robes lying languid on the couch in a never-ending daydream. Clearly we can’t wear athletic attire and arrive at the Carnegie smelling of sweat. What is appropriate or inappropriate become the codes of fashion that organizes our lives. If we decide to wear skirts, bodices, short or long hemlines, flared, sheath, slip, statement to gown dresses once again our behavior and the movement of our body will change depending on the occasion, the environment and our level of inner security.
Which time period would you see yourself in? Which cultural force do you identify with? Which figures would you like to have known? For me the allure of the 20’s is significant because women were freer from the constraints of history and the importance of the suffrage movement is radical. I would love to have been friends with the Lost Generation- F.Scott Fitzgerald, Earnest Hemingway, Gertrude Stein, lived in an Art Deco house, painted with the Surrealists, and Expressionists. Even though the Great Depression was around the corner, the 20’s zeitgeist explored new extravagant lifestyles and supported the fervor around industrial progress. The appeal of the jazz buzz, the silent movies, the Charleston, the hair, Picasso, the travel all to lift humanity…and of course because of the recycling in fashion history, the fantasies of 20’s dress allows us to attend many more partay’s.
Free Floating Anxiety 1 thru 4 is one of a series of drawings soon to be silkscreened onto textiles for my upcoming robotic interactive installation. This continuous field is an amalgamation of various eco-systems colliding, overlapping and interrupting one another in open space. It reveals a shared world beneath the surface of life where biological, fungal, granular, mineral, and industrial shapes forge, float, bump and transform with one another.
FREE FLOATING ANXIETY 1
I marvel at the complexities of human and non-human eco-systems where the organic and industrial/artificial meet.
FREE FLOATING ANXIETY 2
FREE FLOATING ANXIETY 3
FREE FLOATING ANXIETY 4
This is my imaginary world of these probing interactions. Miraculously there seems to be space for all.
Below are a few designs for some upcoming garment installations…I am inspired by eco-systems in nature specifically here -fungal life…
Fungal design 1
fungal design 2
More updates to come, always in process, baby steps make life happen…