3. Convergence

Professor Nic Clear, Dean of the School of Arts and Humanities vocalised the importance of dreaming big and implementing practicalities later (Clear, N. 2023). Promoting a convergence of skill, education, and multi-disciplinary resourcefulness in the Creative industries to realise one’s aspirations. When talking of his time as Professor of Visionary Cities at the Academy of Fine Arts in Vienna, the premise of a Visionary City endorses the aspirational potential of our ArtBar, a chance to design something without limits combining conceptual innovation, artistry, practical knowledge, and technical skill.

Also reminiscent of Katrina Whiteheads low budget promotional project Spectacular, Spectacular(Batley School of Art. 2012), inspired by The Official Ralph Lauren 4D Experience (Ralph Lauren, 2010) Both projects use the facade of a building to create a holographic spectacle of discipline exposition. As Janine Sykes feedback suggested at the interim presentations, there is scope for the project to become a reality with the virtual and interactive elements alongside the blending of social, creative, and cultural experiences.

Convergence between disciplines and utilising my time constructively was a key determination in this module. I established my independent role within the group as being part responsible for artistic content. Drawings and digital manipulations would be uploaded to the vertical planes in the lounge area using Rhino 3D rendering of the ArtBar. Art/fashion pieces would be displayed as sculptures in 3D using 360 photography and Blender software within the atrium and amphitheatre.

The convergent aim of my practice is to challenge the established cultural ideologies between Art and Fashion, blending disiciplines to contextualise the value of art/fashion within gallery context of Contemporary Art. The piece I wish to create is a ‘dress’ based on movement drawings of the female form, a gestural abstraction of the body in motion.Developing the expressive and sensory techniques of perception and insights into a form of 3D drawing through pattern cutting.

A meditative self-awareness of the body has a beauty of sensation; physical, conceptual, and creative. Kinesthetic observation of model and self in contemplation of haptic toning and tightening leads to cognition of the nuances of intricate anatomical complexities, intertwined musculature, and the power of somaesthetic body/mind connection. Such connectivity enhances hand/eye co-ordination to explore the subconscious autonomation of expression.

Each repeated view, a new frame of visual absorption linearly discerning the subtleties of light and shade in the hollows and mounts of the feminine form. An artistic mimesis of movement expands the liberty of expression with acutely rapid seizure of line that abandons the constraints of mark-making accuracy giving way to an instinctual psyche of sensory gesture looking for the fluid connection between the optical and the tactile (Sivinska McCartan, C. (2022).

Exposition context was influenced by a visit to Tate Modern, whilst meandering through the atmospheric hanging Abakans of Magdalena Abakanowicz and descending the wide open spiral staircase to vertically gazeupwards into Brain Forest by Cecelia Vicuna. This induced a rumination on scale, emotive immersion, and stature. How can I apply these elements to my practice? Emotive impact was a desired aspect of immersion within the piece I wished to create. I felt that the Abakans would have been even more emotive if the viewers were able to go inside or pass through the piece.  I envisaged the long dress-like form being hung in the space with pinches of skirted cloth connected by wires to the ceiling, emphasisng movement and fluidity and the intimacy of the interior being viewed from beneath. The advantageous nature of super imposing artwork in virtual space, is the opportunity to experiment with scale and context. How would this grandiose enlargement of my piece affect the perception of the artwork?

At the end of the Creative Studio module, I consciously decided to abandon the confinements of a designed piece in favour of developing the drawings directly onto a 3D form with application of instinct and expression. Viewing the abstract gestures of Main (Sivinska mccartan, C. 2022), as if from above, the central area forms the linear cuts of the bodice, the extended lines the skirted cloth. Marking and cutting the seamlines on the half scale modelled toile, I feel I need push myself further, taking the drawing through pattern cutting into more sculpted planes. Expanding with freeform movement away from the torso. The drawing chosen is complex and easy to get lost in the tangled linear pathways. Have I set myself too difficult a challenge for the time frame? Decisive thought processes are necessary to work on the essentials; to create a more sculpted art piece, ensuring a high quality, completed within the time frame to upload into ArtBar.

The bonus of working in a multi-disciplinary, open-plan building is the potential to gain insight and knowledge from other disciplines. A consultation with costume and print technician Vick Hisley was an opportunity to talk through processes of using the half scale mannequin to construct a quality piece and making a open work wire display bust based on figurative drwan lines, an idea formed in Creative Studio. Vick informed me that the costume department use piano wire to sculpt static forms.

I discussed with Jamie Collier, Photography Technician, 360-degree image capture using the automated rotating turntable. The subgroup of Aqeel, Olivia, Zaki and myself embarked on establishing requirements to superimpose art/fashion pieces in the space. Yet if I wish to hang a piece to be photographed on the rotating plinth, I will need a frame with the dilemma of a frame getting in the way of the photography, could this be sprayed ultra matt black to blend in with a background? Or edited out of the images, or carefully by-passed? Or would it be best to just make the framework part of the piece? Caitlyn suggested talking to Ryan Durrant, Art and Communications Technician, who may be able to do something that would help.

I draped the mannequin with a selection of fabrics; dip dyed striped cotton shirting, striped fine wool suiting, mono-printed linen, velvet, and satin devore/discharge prints. The simple yet effective exercise, with necessary requirements of speed and intuition served to free up the reservations of responsibility and speculation of the creative direction of the piece. The stripe mixed with the prints was more effective than I thought it would be, literally pulling together to embed the concept of my practice, discarding doubts over colour and form.

 This liberation of instinct and 3D perception freed the process from the intense slavish scrutiny of interpretation of line from drawing to dress. Tracing the linear essence has established the basic schematic structure from which to extend the gestures of motion. To discard frustration of calculated pattern cutting protocol, intuitive and playful experimentation with the principles of pattern cutting, embraces chance and the joy of the unknown path of spontaneity.

Many similar professionals may ask, why not just drape cloth, pin, and cut? But this is a master’s degree in Creative Pattern Cutting. My pleasure in the slashing of the lines of extended volume derived from the cutting, piece-pivoting, expansion and layering of paper, a blend of calculated assessment, measure, and innate satisfaction of drawing with a scissored vestige of experiential knowing. The artform essence of pattern cutting.

References

Clear, N. University of Huddersfield. (2023, January, 10). Convergence [Presentation]. Arts & Humanities

Ralph Lauren. (2010, November 12). The official Ralph Lauren Experience, New York [Video]. (58) The Official Ralph Lauren 4D Experience – New York – YouTube

Sivinska McCartan, C. (2023) Drawing (adapted from blog post) Sivinska » 3. Drawing

Images

1. Convergence Slide [Presentation Image]. Clear, N.  Convergence (2023). EP Talk (p.21)
2. Batley School of Art. (2012, April 10). Spectacular Spectacular [Video]. https://vimeo.com/40112150
3. Vincent, S. (2023) Amphitheatre from Entrance [CAD image]. Huddersfield
4. Vincent, S. (2023) Amphitheatre [CAD image]. Huddersfield
5. Sivinska McCartan, C. (2022) Three Folds [Pencil on Paper]. Sheffield.
6. Sivinska McCartan, C. (2022) Linge [Pencil on Paper]. Sheffield.
7. Sivinska McCartan, C. (2022) Main [Pencil on Paper]. Sheffield.
8. Sivinska McCartan, C. (2022) Child [Pencil on Paper]. Sheffield.
9. Sivinska McCartan, C. (2022) Cinq [Pencil on Paper]. Sheffield.
10. Abakanowicz, M. (2022/23). Abakans at Magdalena Abakanowicz, Every Tangle of Thread and Rope. [Sisal woven Sculptures] Exhibited at Tate Modern
11. Vicuna, C. (2022/23). Brain Forest Quipufrom bridge Hyundai Comission. [Installation] Exhibited at Tate Modern 
12. Sivinska McCartan, C. (2023). Wide open staircase at Tate Modern [Photograph].
13. Vicuna, C. (2022/23). Brain Forest Quipu Hyundai Comission. [Installation] Exhibited at Tate Modern 
14. Sivinska McCartan, C. (2022) Curls [Pencil on Paper]. Sheffield.
15. Sivinska McCartan, C. (2022) Main [Pencil on Paper]. Sheffield.
16. Sivinska McCartan, C. (2023). Drawn on toile back [Calico].
17. Sivinska McCartan, C. (2023). Taped toile back [Calico, tape].
18. Sivinska McCartan, C. (2023). Taped toile right [Calico, tape].
19. Sivinska McCartan, C. (2023). Taped toile left [Calico, tape].
20. Sivinska McCartan, C. (2023). Taped toile front [Calico, tape].
21. Sivinska McCartan, C. (2023). Drawn on toile Front [Calico].
22. Sivinska McCartan, C. (2022). WireDraw [pencil on paper].
23. Body Wiring Process .Sivinska McCartan, C. (2023).
24. Body Wiring Process Back Video Sivinska McCartan, C. (2023).
25. Body Wiring Process FrontVideo Sivinska McCartan, C. (2023).
26. 360 Photography testSivinska McCartan, C. (2023).
27. Sivinska McCartan, C. (2023). Draped half Scale mannequin [Silk. Linen, cotton, velvet].
28. Sivinska McCartan, C. (2023) Devoree discharge Print [Silk, viscose]. Huddersfield.
29. Sivinska McCartan, C. (2023) Mono Print [Linen]. Huddersfield.
30. Sivinska McCartan, C. (2023) Mono Print Detail [Linen]. Huddersfield.
31. Sivinska McCartan, C. (2023) Pattern Cutting Process [Video]. Sheffield.
32. Shoulder pattern piece, Sivinska McCartan, C. (2023).
33. Hip Pattern Piece, Sivinska McCartan, C. (2023).
34. Bodice pattern piece, Sivinska McCartan, C. (2023).
35. Back pattern piece, Sivinska McCartan, C. (2023).
36. Sivinska McCartan, C. (2023) Shadow Draft [Pencil on Paper]. Sheffield.
37. Cowl Cutting Process, Sivinska McCartan, C. (2023).
38. Sivinska McCartan, C. (2022) Cowl Back Cut Slash [Paper]. Huddersfield.
39. Cutting Slashing Paper Pattern, Sivinska McCartan, C. (2023).
40. Table Pattern Pieces, Sivinska McCartan, C. (2023).
41. Sivinska McCartan, C. (2023) Window Bodice [Paper]. Huddersfield.
42. Sivinska McCartan, C. (2023) Paper Window [Paper]. Huddersfield.
43. Sivinska McCartan, C. (2023) Paper Window Pattern [Paper]. Huddersfield.
44. Paper Dress Front, Sivinska McCartan, C. (2023).
45. Paper Dress Left, Sivinska McCartan, C. (2023).
46. Paper Dress Right, Sivinska McCartan, C. (2023).
47. Paper Dress Back, Sivinska McCartan, C. (2023).
48. Sivinska McCartan, C. (2023) Sharp Points Original [Photograph]. Huddersfield.
49. Paper Backed Pinning, Sivinska McCartan, C. (2023).
50. Inside Out, Sivinska McCartan, C. (2023).
51. Stitch Curves, Sivinska McCartan, C. (2023).
52. Sculpdress Front Exterior, Sivinska McCartan, C. (2023).
53. Sculpdress Left Exterior, Sivinska McCartan, C. (2023).
54. Sculpdress Back Exterior, Sivinska McCartan, C. (2023).
55. Sculpdress Right Exterior, Sivinska McCartan, C. (2023).