10/02/2020

Yesterday, after handing in my part two sketchbook, portfolio and review to be assessed, I went to the V&A to get inspiration for part 3. I went to the Tim Walker exhibition which was beautiful and sensorial.

Some of my ideas looking through the exhibition, previous ideas and using other external factors;

- Dreams…

I have extremely vivid and fascinating dreams- some of which I have written long notes down for. Therefore, I felt it would be a very intriguing topic to research. As well the Walker exhibition had an extreme array of possible inspiration and ways to explore my own concept.

- Female and Male identity…

Deconstructing the image of Female/ Male identity

Gender fluidity?

I decided that I wanted to explore Female and Male identity and the possible image of gender fluidity or perhaps what it means to be Female/ Male.

- ‘androgyny’

I then bought postcards which I felt would be somewhat relevant to my possible concept…

 List of bought postcards;

- “Suit of armour”, Myochin Muneharu, Japan, 1859

- “Noh mask”, Suzuki Nohjin, Japanese cypress, gesso and horsehair, Japan, 2000

- “The Queen and The Prince Consort”, photograph of Queen Victoria and Prince Albert, John J.E. Mayall (1810-1901), London, England, 1861

- “Plate 169 from the series Animal Locomotion”, Eadweard Muybridge (1830-1904), collotype

- “Afternoon at Home”, Design for a postcard, Louis Wain (1860-1939), Indian ink, watercolour and gouache, Britain, early 20^th century

- “Jesus on a donkey”, painted and gilded limewood and pine, Southern Germany, about 1480

- “Corset”, red sateen, yellow leather and whalebone with a steel spoon-shaped busk, Britain, 1883

- “Duckie Thot and Aubrey’s shadow”, Fashion: Saint Laurent, London, 2017, From the series Pen & Ink

- “Jérôme Thompson and Charlie Taylor”, London, 2018, From the series ‘The Land of the Living Men’

- “James Spencer and Harry Kalfayan as faun in Tudor casket garden”, Fashion: Walter van Beirendonck, Costume: Shona Heath, London, 2018, From the series of Box of Delights

During collecting these postcards, I thought about the idea of evolution and how the Male/ Female identity has come to be constructed and evolved. I then thought about the future and on whether, literally or perhaps just conceptually, could the image of Female/ Male evolve to be one?

Evolve to be one physically or perhaps mentally?

Evolve to be one in regards of societal and cultural expectation… indifferences?

If evolution of Female and Male identity is in retrospect of the mentality ( and societal and cultural expectation) perhaps I could explore this through a physical image?

24/02/2020

WHAT HAVE YOU LEARNT

WHAT HAVE YOU IMPROVED ON

WHAT HAVE YOU EXCELLED AT

WHY TEXTILES

BROADER CONTEXT

WHAT DO YOU HOPE TO ACHIEVE BY THE END OF THE PROJECT

24/02/2020

When discussing my project title and concept with my group, they gave me the top two exhibitions they felt were extremely relevant (image).

the bottom two are exhibitions I also am intrigued by and would love to see how they could influence my works.

24/02/2020

Minimum 10 materials;

- latex

- moulding/ casting

- costume/ material

- skin

- clay

- tights

Minimum 10 images;

Minimum 10 practitioners;

Joanna Bunker Rohrbaugh, 1979, Women: Psychology’s Puzzle

Virginia Woolf, 1928, Orlando

Margaret Atwood, 1985, The Handmaid’s Tale

David Burnie, Jack Challoner, Philip Eden, Dr. William A. Gutch. Cally Hall, Jeffery Kaufmann, Scarlett O’Hara, Steve Setford, Carole Stott, Clint Twist, Dr. Warren Yasso (1998) ‘Visual Encyclopedia of Science’

Judith Halberstam (1998) ‘Female Masculinity’

Yuval Noah Harari, 2011, Sapiens A Brief History of Humankind

Lars Röper and Thomas A. Koster, 2006, 50 Artists You Should Know

Lucian Freud, 2012, Painting People

Tim Walker: Wonderful Things exhibition, -2020, V&A

V&A sculptures

France-Lise McGurn: Percussia exhibition, 2020, Simon Lee gallery

“Suit of armour”, Myochin Muneharu, Japan, 1859

“Noh mask”, Suzuki Nohjin, Japanese cypress, gesso and horsehair, Japan, 2000

“The Queen and The Prince Consort”, photograph of Queen Victoria and Prince Albert, John J.E. Mayall (1810-1901), London, England, 1861

“Plate 169 from the series Animal Locomotion”, Eadweard Muybridge (1830-1904), collotype

“Afternoon at Home”, Design for a postcard, Louis Wain (1860-1939), Indian ink, watercolour and gouache, Britain, early 20^th century

“Jesus on a donkey”, painted and gilded limewood and pine, Southern Germany, about 1480

“Corset”, red sateen, yellow leather and whalebone with a steel spoon-shaped busk, Britain, 1883

“Duckie Thot and Aubrey’s shadow”, Fashion: Saint Laurent, London, 2017, From the series Pen & Ink

“Jérôme Thompson and Charlie Taylor”, London, 2018, From the series ‘The Land of the Living Men’

“James Spencer and Harry Kalfayan as faun in Tudor casket garden”, Fashion: Walter van Beirendonck, Costume: Shona Heath, London, 2018, From the series of Box of Delights

Jenny Saville

Claude Cahun

Louise Bourgeois

PROBLEMS TRYING TO SOLVE;

- using latex and moulding- price and technicality

-

WHAT TECHNICAL RESOURCES MIGHT I NEED;

- human bodies

- life drawing class

                                                 Foundation 2019-20

Foundation Diploma in Art and Design

Unit 4 Project Proposal                         UAL Awarding Body / CSM Foundation

Candidate Name:         PHOEBE THOMPSON                       Candidate ID Number:  19014537

Curriculum Area:          Fashion & Textiles

Pathway:            Textiles   (please delete as appropriate)

UALAB Unit:                 Unit 4 - Consolidating Practice.

Project Title:                 GENDER EVOLUTION

Claude Cahun                                     Eadweard Muybridge                                     

Aubrey Beardsley                               Victoria and Albert                                    

Noh Mask                                                Tim Walker

Project Review

My experience on part two has been one of a conceptual, visual and technical challenge. Not a pessimistic challenge, but a constructive and optimistic challenge. Part two on the foundation course allowed me to push my boundaries further as well as to be more refined with my outcomes so that there’s a clear distinction between sketchbook work. By pushing myself out of my comfort zone, I chose the Textiles pathway. As a person who has a very Fine Art approach and mindset about my work, I felt this pathway enabled me to think in an alternative way to what I am used to as well as develop a range of ideas in a short time frame. Therefore, I aim to explore my piece very conceptually, whilst being able to visualise it as a form of textile or a larger tactile piece.

Project Concept & Description

Within this project, I aim to explore and challenge the concept on gender identity and its relationship with the notion on evolution and devolution. I aim to explore the possible image of gender fluidity, ‘androgyny’ and what it means to be Female/ Male. During my initial research, I thought about the idea of evolution and how the Male/ Female identity has come to be constructed and evolved. I then thought about the future and on whether, literally or perhaps just conceptually, could the image of Female/ Male evolve to be one? Could you evolve to be one physically or perhaps mentally? Would this evolution occur in regard of societal and cultural expectation? I will be researching further into the historical relationship between Male and Female within societal, cultural and identity perspective using scientific, historical books ‘Sapiens, A Brief History of Humankind’, novels highlighting similar themes, ‘A Handmaids Tale’, ‘Virginia Woolf’ and artists, e.g. Claude Cahun, Louise Bourgeois and going to exhibitions; Tim Walker and more. If evolution of Female and Male identity is in retrospect of the mentality (and societal and cultural expectation) perhaps I could explore this through a physical image and a larger scale, using and developing my material ranging from a higher solidity to a higher fluidity e.g. life drawings to latex. I would like to explore the scale of the human body and the diversity in which it holds, diversity from appearance but also with gender.

Project Evaluation

Throughout this project, I will constantly be reflecting through various means on the progression, developments, changes and whether I find it to be a successful exploration/ outcome in regards of the concept and this proposal. Some of these being; feedback, surveys, voice and note recording, peer review, interviews, social and self-evaluation. I aim to produce a continuous flow of works, from sketchbook experimentation, experimentation outside of the sketchbook and outcomes. I also aim to visit two more galleries in the upcoming weeks to strengthen my project and am open to new possibilities and avenues to explore.

Proposed Research Resources and Bibliography

Joanna Bunker Rohrbaugh, 1979, Women: Psychology’s Puzzle

Virginia Woolf, 1928, Orlando

Margaret Atwood, 1985, The Handmaid’s Tale

David Burnie, Jack Challoner, Philip Eden, Dr. William A. Gutch. Cally Hall, Jeffery Kaufmann, Scarlett O’Hara, Steve Setford, Carole Stott, Clint Twist, Dr. Warren Yasso (1998) ‘Visual Encyclopedia of Science’

Judith Halberstam (1998) ‘Female Masculinity’

Yuval Noah Harari, 2011, Sapiens A Brief History of Humankind

Lars Röper and Thomas A. Koster, 2006, 50 Artists You Should Know

Lucian Freud, 2012, Painting People

Jenny Saville, 1999

Uta Grosenick, ‘Women Artists in the 20^th and 21^st Century’, 2001

Margaret Stavridi, 1967, The Hugh Evelyn History of Costume, First Series

Aileen Ribeiro & Valerie Cumming, 1997, The Visual History of Costume

Lennart Nilsson, 2006, Life

Sir Robert Winston, 2008, Illustrated Encyclopaedia of the Human

Darwin, 1859, The Origin of Species

Nick Lane, 2009, Life Ascending, The Great Inventions of Evolution

Dylan Evans & Howard Selina, 2001, Introducing Evolution

Germaine Greer, 1993, The Female Eunuch

4B: Exploring Contemporary Drawing exhibition, 2018, Louise Bourgeois ‘Birth’ 1994

Tim Walker: Wonderful Things exhibition, -2020, V&A

V&A sculptures

France-Lise McGurn: Percussia exhibition, 2020, Simon Lee gallery

Chaim Fershtman, Uri Gneezy and Moshe Hoffman, ‘Taboos and Identity: Considering the Unthinkable’

Karmen Špiljak, ‘Reconstruction of female identity in popular culture’

Project Action Plan and Timetable:

28/02/2020- 1/02/2020

Throughout this exploration following my proposal, I felt I should divert the development/ concept as one that doesn’t focus on male and female relationship and the evolution. But explore the male gaze and perspective of female’s progression physicality and mentality.

… positive progression or regression

Using the idea of evolution and natural selection to produce/ create the ideal woman

Quote from the book ‘Women: Psychology’s Puzzle’ (Joanna Bunker Rohrbaugh)

“WILLIAMS POINTS OUT THAT THIS STEREOTYPE EMPHASISES WOMANLY CHARACTERISTICS THAT DISTINGUISH PURITY, SUBMISSIVENESS, AND DOMESTICITY. AS LONG AS SUCH A WOMAN STAY IN HER ‘PROPER’ PLACE, ALL IS WELL.”

“MEN COULD ROMANTICISE ABOUT THE FEMININE QUALITIES”

I felt I should divert toward this due to my lack of primary sources of the male and few of the female body. My mum did allow me to draw her as a life model which enabled me to explore the physicality of the female body. I then felt I was able to produce forms using these life drawings- almost in a print- like manner like previously done inspired by my research.

The images below are pieces of work from my sketchbook. I took the outline of my life drawing using tracing paper and fabric and produced an abstract form that I allowed to question "what will we become- Male and Female?" if we evolve and transgress further under and being surrounded by societal. and cultural influences.

I also layered some giving the image of time and temporality of physical developments. Whilst this portrays a female form I could begin challenging the male form too or. perhaps venture further into what makes society view one as being Male or Female, e .g. clothing and mannerism. 

Whilst these do explore what I previously mentioned, I feel to develop, I need to suggest something larger and allow the female and male forms that I'm recording to perhaps hold and observe fluidity in themselves. 

HOW COULD I DO THIS?

I could do this by using the research I've collected previously as inspiration for further work and research. for example, the use of costume and obvious boundaries between gender due to clothing and position.

I would like to explore further with this image of adaptation and development within the human physical form, perhaps through;

- print… screenprint

- projector; Blow up some of the shapes- body scale

Use these and develop- perhaps use latex ?? Clay pieces?

2/02/2020

At the beginning of the day, I extended my exploration into the life drawings and planned what I thought I should do next;

- more collage combining more refined focus into my moodboards/ research inspiring my sketchbook developments.

I need to select stronger but fewer images and research to combine into mood boards rather than generalised information that I started to do at beginning. This would refine my concept on gender fluidity and idea on androgyny and balance within gender identity.

Within the latter half of the day, we had group silent crit sessions.

My group;

Florence

Ella

Jamila

I felt I should divert toward this due to my lack of primary sources but the body. My mum did allow me to draw her as a life model however there is a lack of willing people to participate in this. As well as my lack of male models. Therefore, this crit session extremely helped strengthen and solidify my project due to the;

- clarification

- feedback (peers and tutor)

SILENT CRIT FEEDBACK:

Phoebe - Gender Evolution

male and female

NOW image of a female from Mans point of view 

TRANSGENDER 

androgyny

Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. ... When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral

Traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel 

David Bowie

Marlene Dietrich 

 Yohji Yamamoto challenged the social constructs around gender.

 Power dressing for women

 Grace Jones 

Lady Gaga

gender fluidity 

2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign

KEYWORDS: Balance, Transforming 

Girls vs boys clothes - drawing 

Photoshoot of male and female

Paul Kindersley

Annie Hall

Make up 

A history- Science gallery there is alot on eveloution 

Could look into the future- alot of diffrent genders now

alot of diffrent genders/pride

changing the body- distorting

question people on what they think is a very male and female design/clothing

collarotae them together 

You could look at the structure of XY Chromonsomes

Look at the Riot girl movement, and how they tried to change the idea of femeninity 

Key word: fluidity , maybe look at water 

look at Amanda Lepore

men playing the female roles in old theatre 

Therefore, tonight I aim to research further into these and gather images to create further mood boards and collages for and within tomorrow.

After this crit session, I decided to re-explore (like I planned at the beginning however got wrapped up in the concept of female identity) the image of male and female.

the image on;

- gender fluidity

- costume

- outer wear

- identity

- societal and cultural expectation 

BRINGING IT BACK TO THIS EXPLORATION STARTED AT THE BEGINNING OF THIS PROJECT;

- GARMENT TO ADAPT BODY/ PHYSICALITY BECOME/ EVOLVE INTO BODY/ PHYSICALITY

- ANDROGONY... EVOLUTION WITHIN GENDER IDENTITY/ SOCIETAL AND CULTURAL EXPECTATION

- TO BE LIKE A SKIN AND NOT A GARMENT?

- RELATE TO STEREOTYPICAL FEMALE AND THEIR IDENTITY

- CAN CERTAIN GARMENTS BE MANIPULATED - PRESENTED WITHOUT A PERSON IN IT... ISOLATED FROM GENDER

- WORN TO FIT A FEMALE/ MALE, BUT CAN IT BE MANIPULATED WITHOUT A SENSE/ FORM OF RIGIDITY AND TYPICAL ATTRIBUTES FOR THE OPPOSITE GENDER AS DON'T WANT TO FIT THE GIVEN/ IDOLISED GEDNER... FIT WITH A SENSE OF FLUIDITY (GENDER)

- ABIDING AND BECOMING THE SOCIAL/ CULTURAL EXPECTATION... IGNORE THESE?

FIRST... MALE/ FEMALE CAN WEAR THE OPPOSITE GENDER'S STEREOTYPICAL PIECES AND PERHAPS FORGET TEH CONSTRUCT OF THEM

... MALE WITH FEMININE PHYSICAL ATTRIBUTES? VICE VERSA

Therefore, I began by taking images/ body shots of people in my class/ around me.

BALANCE

TRANSORMATION

FLUIDITY

EVOLUTION

MOVEMENT

SHAPE

COSTUME

SEX

ANDROGONY

03/02/2020

androgyny collages

using my collages of people from my book, I took photos and then placed them together (as they are in my book) but as a whole body. 

the one below in particular, identifies a stereotypical identification of a female wearing typically male shorts due to the pattern and garment; check, tartan blue male shorts. This identification shows how some of these collages appear to be a stereotypical male and female but others (one below) appear to be more blended in terms of gender identity.

From this analysis, I ask myself... why is this?

this could be due to factors like;

colour= monochrome v colour,

sizing= oversized v fitted

Therefore, from this, I could develop looking into costume with gender and how I could thwart stereotype. Claude Cahun is a great example of how I felt inspired to produce images fo fluidity. I could however research further into more contemporary current artists, designers, sources so I can see how the evolution and progression within historical, cultural and temporal contexts affects the idea behind androgyny and gender and its fluidity, e.g.;

- Yohji Yamamoto

- Adam and Eve

- Tim Walker

- Aubrey Beardsley

- The Queen and Prince Consort photograph

From this collaging of female/ male bodies, I observed how my work was beginning to open avenues for questioning, playing and manipulating the ideals within culture and society framed for a male and a female. 

03/02/2020

Today, I began collaging and completing further moodboards to help inspire my concept and project and where to go with it. I also began researching into the artists and sources people gave/ recommended me from the crit session to look into to aid my work.

After looking further into the designer Yojhi Yamamoto, some things really resonated with my ideas and are beginning to help me from feeling lost… reclarification

‘number of personal GUISES through the progression of the runway looks… reminds me of evolution and image I am trying to create/ present’

IMAGE OF GUISES

Idea of dress, costume, shape, illusion, facade

‘coats covered in drawings of animal faces or women’s silhouettes’

Image of fluidity… reminds me of my beginning developments with the tracing paper and female formations/ outlines.

I thought after the crit session, that I wouldn’t be able to follow through with these or Felt lost in which direction I could now use these etc, however I could still produce/ create versions of these but exploring male and female and fluidity.

These prints could either be used on a structure/surface, or as the structure/ surface.

“Each customer can play with each silhouette; it’s a natural change.” 

Individuality

Subjectivity

Fluidity

Ambiguity

‘We need to put air between the fabric and the body—how big or how tight, how long or short.” Doesn’t this explain almost everything without killing the mystique? And yet, he offered more, mentioning his fascination with twentysomething guys who borrow clothes from girls, and vice versa—a fascinating observation from someone who pioneered an androgynous approach.’

Relationship between fabric and body/ material and body… this visual image of this relationship creates/ should provide and speak what it is trying to say

- do I want my piece/ or do I want to explore the idea of it being. Like a. skin? Skin… the garments stereotypically show a female or male identity/ stereotype but what if this is adapted… plaster Cast of female body in stereotypical male garment- boxer shorts

Then This placed on male as his skin…vice versa

Abolishing and deconstructing image of male and female ideals/ stereotypes etc

Create a series of male and female versions/ skins

‘Instead, he was endeavouring to change fashion's perception of femininity entirely, to fly in the face of the accepted jolie madame mindset and offer a solution to dress that was discreetly erotic more than overtly sexual, that concerned itself, first and foremost, with the relationship between garment and wearer and was aimed squarely at those who dressed to please no one but themselves.’

Sexualisation of femininity

No viewer but themselves

Individual identity

to have women wear what was thought of as men's clothing

fluidity

TO DO TONIGHT;

- COLLAGE FEMALE IN MALE GARMENTS VICE VERSA

- TAKE IMAGES OF MALE IN FEMALE GARMENTS VICE VERSA

PERHAPS I SHOULD EXPLORE GENDER FLUIDITY WITH DIFFERENT GARMENTS;

UNDERWEAR AND SKIN??

AN IMAGE OF  STEREOTYPICAL GENDER IN WHICH BOTH HOLD ALTERNATE NOTIONS;

FEMALE= SEXUAL

MALE= POWER

MERGE AND MAKE FLUID 

After explaining to my mum my project, she told me that a lady she worked for had given her bags of old underwear. I felt this was a perfect opportunity to begin exploring the obvious image of gender fluidity, e.g. male in female underwear and vice versa.

below are images of my dad wearing them (only uploaded a selection) 

these photography experiments using a male and the female underwear I feel did come out as expected and visually explore my concept clearly, however I feel they also do look slightly too obvious. I know these aren't going to be close to my final outcome and they're just image developments and explorations, I have observed maybe I should begin exploring something more ambiguous. Perhaps instead of underwear, I could use the technique of draping with a fabric so that the medium suggesting fluidity is genderless in itself. this image of draping was also presented in the V&A on both Male and Female forms. (RESEARCH)

research more into the technique of draping, artists and designers exploring draping and the image of fabrics.

Using the images of a male in female underwear, I decided to explore with the idea of texture.

Using the ink gave capturing the texture of the underwear on skin a lot more movement and depth and strength in places of skin and material contact. in order to capture further texture I. could begin experimenting with clay or a similar substance as this would provide tactile texture and would allow me to. develop and refine my ideas on my concept. As well as provide and capture a visual and physical representation of fluidity or ambiguous gender and androgyny. 

PROGRESS TUTORIAL REFLECTION

10/03/2020

Before attending this progress tutorial, I had written a list regarding the things I aimed to do and the developments and progress I realised I had to work on.

During this tutorial and looking through my current work, she noted overall how my ideas and research were all there and had a lot of it, however my exploration and logical development of it was unclear.

Unclear as in she said, “it’s like you have a lot of tabs open in your mind”. I have always been like this where from one starting concept, I develop many further ideas meaning I find it hard to keep on track. Therefore, I aim to really work on what I am looking at and focus on my initial key words.

Fluidity

Balance

Transforming

An example of this lack of clarity in my work is that I began to unintentionally look at skin tones when I was focusing on the structure and form within the fluidity of Male/ Female identity.

Due to this she explained I had to either be extremely careful when looking at skin tones due to social and cultural issues and importance or steer back to my original idea. I decided to go through with steering back to my original concept which hopefully will allow more clarity leading to` a stronger depth of work.

- form/ structure of Male/ Female form

She also mentioned how I hadn’t been to any workshops. My reasoning behind this was I was quite lost, and I did put my name down for the print workshop, however it was oversubscribed, and I could do that one. I then felt I didn’t actually need the print workshop as I know how to screen-print and could purchase my own screen board and utensils. Then I felt I didn’t need the print technique as I didn’t know what I was actually doing (lost).

Then after this talk with Victoria, I realised due to getting back on track, I should’ve attended the abstract draping workshop seeing as my concept explored ideas/ images behind Male/ Female identity and its fluidity; androgony and forms of abstraction and manipulation.

UPDATE: due to the coronavirus situation and workshops, I won’t be able to attend any and due to cancellations. Therefore, I will experiment with my own draping and research into draping.

I also need to work on my mood boards and collages. My current ‘mood boards’ are more like research boards and I need to make them more selective with strong images and portraying a clear and purposeful idea/ image supporting my concept and works.

PHONE CALL SESSION WITH PAULINE MOON TO AID MY CONTEXTUAL PRACTICE- CRITICAL THINKING/ EVALUATION

Look into monochrome colour

Draping with fabric/ material

Female and male- not just male in pieces

CLAY prints

Example 1; clay print from bra on skin

Example 2; clay print from bra on skin 

monoprint ink and emulsion paint left on clay surface from prints in sketchbook

Example 3; clay piece with material print and skin

curvature and manipulation in its form due to being pressed on skin with fabric

Example 4; clay piece with material and skin print which I rolled on mono print ink and did prints in my sketchbook

The image below is of one of the prints I did using one of the clay pieces, as well as a collage. The collage observes the idea behind 'costume' and 'dress' and i aimed to portray the idea on how 'to dress' in a certain way can thwart your appearance in regards of gender. What are people's reactions when it comes to the ambiguity in gender identity and if a stereotypical gender has been manipulated, deconstructed or reconstructed. This print next to the collage is so I can constantly capture links and consistency with this concept. the image of the fabric and skin print acknowledges the unclear gender used and the manipulation and exploration of someone (regardless the gender) in material. 

To take this idea and exploration further I could challenge different media; monoprint or larger clay pieces or even experiment with paper mâché. these different media and techniques would also allow me to explore scale and I could even mould larger parts of the body with fabric on (obscuring the obvious gender).

TO DO;

RESEARCH INTO COLOUR- MONOCHROME

RESEARCH INTO DRAPING

RESEARCH INTO USE OF FABRIC ON FIGURES/ GENDER/ BODIES THROUGHOUT CULTURAL, SOCIETAL AND HISTORICAL CONTEXT

After creating these clay moulds and prints in response to the underwear and fabric individually and its relationship to skin, I felt I needed to experiment with another media/ technique that identified further with my concept exploration. I decided to explore the technique of mono printing due to its ability to capture and record fine detail and suggest a sense of movement within the results. I also felt the control one can have when doing mono print, in relation to my concept provides the observation of form.

Within these mono print experiments, I explored monochrome; black mono print inks and white emulsion paints.

During my research into black and white I realised how black is associated with certain things, such as;

- power;

the power between gender 

the assumed and stereotyped power behind the male identity

power can be good or bad/ positive and negative and how and where is this energy exerted onto?

power behind the evolution of beings

power behind societal, cultural and historical context

- fear

- mystery

"feminine mystique" Betty Friedan- the mystery of women from the male-gaze

subvert this traditional concept/ construct and create the mystique of gender through the development and ambiguity

- strength

strength of developments within societal, cultural and historical context

- authority

male authority

authority of balance between genders

- elegance

archetypal/ expected/ presumed female elegance

elegance within the movement and developments of societal, cultural and historical context

- formality

expected nature of both genders

constructed formality

deconstructed formality to create a new formality

- rebellion

rebellion of female

- sophistication

sophistication of the mindsets of gender

sophistication in societal, cultural and historical contexts

- absence of colour

absence of colour, significance within form

absence of a stereotype

white is associated with;

- light

hope in a context/ concept

clarity

- goodness

morality behind a construct/ context/ concept 

morality and righteousness with gender/ balance/ equity and equality

- innocence

no maliciousness within approach to certain gender

innocence in and from stereotype and gender constructs

- purity

untainted by constructs 

- perfection

improvement, quality and faultless etc within the constructed boundaries and barriers between genders

the perfect state of balance and equilibrium 

- safety

- cleanliness

- concentration

on form and purpose

As well as the mono print experiments, I also completed many drawings to really strengthen my analysis of the fabrics and texture and form. I do however aim to do some much larger scale drawings to give a sense of scale and its alternating impact relating to. my. concept due to. having an alternate scale.

During this exploration of the manipulation of fabric, I decided to collage it (image taken from when I was producing direct observational drawings/ sketches) on top of one of my previous androgynous body shot collages.

Through this collage, I was able to explore the possibilities of blended and fluid gender identities and this being obscured, providing the viewer and atmosphere with a sense of ambiguity.

This therefore illustrating the idea of subverting the expected from societal, cultural and historical norms or conventions.

To develop this I could explore more with the image of gender and its relationship to gender, for example I researched the designer Yohji Yamamoto (explores the idea of androgyny).

TO DO- explore/ research further artists, designers, sources that also explore this idea.

Draping on the Male form/ body

Using my fabric and body collages, I developed into draping fabric onto an actual body. I began exploring the male form and will then develop onto a female with the same style of draping and seeing how I can manipulate certain aspects of gender. 

- challenge the human form and manipulate it to see how far it can reach a sense of ambiguity or perhaps an androgynous appearance.

I asked people's thoughts/ opinions on the effect/ impact of these;

From these, I produced more direct observational drawings, monoprints and then some collages from those of possible exploration.

Could I produce larger scale/ life size prints to give the significant subject matter more depth? one that viewers can perceive as an issue that is perhaps neglected more than thought?

17/03/2020

-it's positive that I find workflow helpful

- pages on workflow are meant to go on a journey

- on my research page I need more imagery- keep the same amount of writing but not enough balance of writing and imagery 

- multiple images on research page rather than 1

- separate chunks of writing on research page; e.g. Samurai- separate the quote from a book from the main body of writing- other images linking to overall cultural, societal context and concept

RESEARCH PAGE;

- stockpiling

- like a food cupboard- not necessarily to all be used but all there and accessible- and contextual practice page is where you make sense of it

- same level of writing as currently have just more imagery and focus on response and possibilities for project

CONTEXTUAL PRACTICE PAGE;

- My listing feels a bit like not sure where project is going

- could have 1 column rather than 2- more chronological

- writing version of project rather than sketchbook which is the visual version

- not all images have to be put and used on this page, e.g. the body collage shots- one example rather than all

- critical reflection- 02/02/2020 entry... explain why. "collage combined for a more refined focus"- skip to the point- very specific- make the point for clarity

then evaluate

"collage combining"...

began to visually show concept- got too lost in the research

- to do more visualisation of thinking

androgyny collages- when use 1 image instead of all that I had- go deeper into this

... use specific thoughts then link to overall concept

some look stereotypically male and female but others look more blended and fluid within/ between genders

why is this?

- links well to work now- go back and reflect 

don't rush

not what I did but why etc

visual exploration and conceptual exploration 

- I drifted between these two and not give strength

- a lot of info kept in head

Dog analogy- I want control over dogs not dogs over me

can't be separated

HOW DO I BALANCE MY IDEAS AND TIME?

- notebook for ideas that come into head- jot down

- evaluate/ reflect what I've just done constantly

CANT PUT ALL IDEAS INTO PROJECT- REFLECT AND EVALUATE CHOSEN IDEAS

JOURNEY OF THINKING- IN DEPTH EXPLORATION

- list like writing looses its flow- make as continuous text- for the reader list looses meaning and they have to fill in connection points

- connections not all there- in head

-more narrative type of writing rather than lists

Won't be able to do every single entry now but go through and do what I can and continue with this refreshed outlook

FOLLOW UP TUTORIAL

Female fabric draping and sketching

- challenge the human form and manipulate it to see how far it can reach a sense of ambiguity or perhaps an androgynous appearance. This draping exploration reminded me of the way Yohji Yamamoto approached his exploration into the image and concept of androgyny. 

How far can I push this?

Perhaps I could do more structured parts of the female/ male body as although these draping explorations do imply a sense of the apparent gender being obscured, I could also show it in a more abstract way. this could be done by using a more rigid material which I could then use to explore further into the idea/ image of androgyny. For example, perhaps I could then- like I have in my sketchbook with the paper doll dress up idea and my androgynous body shots- merge and mix-match these structures allowing the idea the genderless and gender-bending to be presented.

Paper moulds of female body/ form and sketching

Using my previous draping experiments and my possible developments into a more rigid, specific form, I decided to start by exploring the media of paper. Seeing as I am focusing on form, I felt these body moulds and the attempt to capture stereotypically and biologically distinctive aspects of gender, was a provocative exploration. Even with writing "stereotypically and biologically distinctive aspects of gender", it makes me realise if there are and to what extent boundaries between a stereotype and a biological entity can be pushed and are related.

To do;

produce male body paper moulds

research idea behind stereotype and biology

paper moulds of male body/ form

What will happen if I sculpt this piece to myself?

Female in Male body moulds

Male in Female body moulds

male in female paper moulds

Although these are female body moulds on a male, from front view they don't look specifically female. Showing the successful sense of ambiguity I wanted to present. from the side in some of the moulds, it does appear slightly more feminine due to the biological physicality of a female, however I find it a successful subversion on the image of a 'stereotypical' gender, whether that means physically or mentally but shown through a visual manner.

Female in male paper moulds

Fabric developments of my paper moulds

PHOEBE MAE THOMPSON

FASHION AND TEXTILES

TEXTILES

GENDER EVOLUTION

For my project, I aimed to explores the concept on gender identity and its relationship with the notion on evolution and devolution. Through exploring this, I questioned whether, literally or perhaps conceptually, could the image of Male/Female evolve to be one. Would this evolution occur in regard of societal/cultural expectation? I explored evolution of gender and whether it’s in retrospect of the mentality and cultural/societal expectation, of which I then displayed through the physical image of ethereality and fluidity.

Through this physical representation of evolution within the mentality behind Femininity/Masculinity, I aimed to produce a piece for the body that held values of transcendental movement. By this, I mean a piece that reflects the movement in ideology behind stereotype and a manipulation of perspective. I did attempt to make my final piece using alginate and plaster, however the alginate set before I even came to creating the mould meaning I had to improvise. My final piece was made from Modroc. This final piece was moulds of both Female and Male forms merged. With this Modroc piece being on the human form and the way I captured it through image, I felt it reciprocated a moment of authenticity. An authenticity prescribed toward the mental fluidity possible and available for any gender identity. One that is not fixed, even if taught so, e.g. Male/Female thinks and is a certain way to surrender to historical, cultural and societal stereotype.

Before lockdown, I was a lot more motivated due to knowing part 3 would truly be marked. However, due to the quarantine and regarding how and what parts of our work classify us to ‘pass’, I lost a lot of motivation and creative inspiration. Although, saying this, when I came to create my final piece, I found motivation and perseverance. I did find working from home a lot more practical due to being in a space where I had all my equipment necessary at hand, as I live extremely far from the Archway building. Therefore, I was able to create a lot more work than what I would have if I were still at college.