Language has been paramount to this module. Alongside careful communication, learning the Arduino basic coding has bridged my disinterest in technology by realising that this is simply another language to learn, adding to the list from other lands. With a view to publish in the future, co-writing the presentation script has reinforced my editing skills. Despite cutting a quarter of the length of the introduction, Caitlyn struggled to see the difference as the essential narrative remained intact.

I feel I have shown a strong capacity to conceive connective possibilities. Such as making space for Olivia’s docu-photography and Christine’s topical Beauty and the Media campaign, to be situated in ArtBar as the ‘earthly grounding’ of the Human Story vestibule. Matching the opportunities to link Aqeels 3D artwork to motion sensor software. Putting together dishes for the food menu, concocting body/art referenced cocktail names. Seeing project concept enhanced with use of lighting in the Create Lab. Is Creative Direction the ability to see the whole picture?

“Creatin texts, artefacts, sounds and images that CONNECT US” (Clear, N. (2023) p31)

I have learned that Action Research is vital to the collaborative process and have enjoyed group activities and involvement, sharing progress and the significant benefits of group reflection and feedback has made me want to work with others to achieve goals. I believe I would work well as part of the creative direction of a team.

In the time travelling thoughts of hindsight, what would I have done differently?

Even though our concept was strong, and most of the group were in tune with the aesthetic ethos, I would have produced a crystal-clear contractual brief, that could be referred to consistently. Rather than having blind trust, this would have aided an assertion in requests to gain knowledge of processes such as how to convert photographs into a 3D image. I would have pushed harder to use the project planning tools in the earlier stages of a project which may have kept more of the group on track. I also gained humility in my graphic design capabilities and would have discussed the presentation and what we wished to achieve earlier on and assigned this to the graphic designers.

The collaborative process has enabled a telescopic view into creative possibilities, what could I achieve with a team of skilled participants in the visualisation of a project? The cogs of mental ideation circulative in producing idea after idea, connection after connection. A fractal dissemination forming networks of artistry amongst disciplines to expand innovation. Artist working with architecture, photographer as publisher, graphic designer as artist, pattern cutter as journalist, designer as sculptor, artist as photographer – the possibilities are limitless.

References

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

Images

1. Co-written Script, Matthews, C. Sivinska McCartan, C. (2023) [Presentation Slide]
2. Co-written Script, Matthews, C. Sivinska McCartan, C. (2023) [Presentation Slide]
3. Zadi Batool. A (2023) 3D Motion Sensor Artwork [Digital Art] Huddersfield.
4. Menu Curation, Sivinska McCartan, C. Witkos, D. (2023) [Presentation Slide]
5. Create Lab Lighting, Strettle, O. (2023)
6. Matthews, C. (2023) Fancy [Digital Art Video]. Huddersfield.
7. Sivinska McCartan, C. (2023) BodyDraw [Digital manipulations of Drawings and Photographs]

Appendices

Visual Podcast, Cathie Sivinska McCartan (Original Script)

Hi welcome to the visual podcast for EP publication.

Approaching the parametric forms on the skyline it feels as if I am about to walk onto the film set of an epic cinematic sci-fi 3production, the air of mystery and anticipation is strong.

 The vastness of the space seems slightly daunting, the asymmetry of the interior disorientating. Yet the Initial impressions are of surprise as the visual pull is towards the impactfully curated colour behind the monochrome drawings of Cathie Sivinska McCartan. The hues and blurred textures complement and enhance the sense of movement in the semi -abstractions of the female form. Turning in the sharp corner of the triangulated lounge area,  the atmosphere shifts to the even sharper slightly dangerous electricity of Sivinska’s digitally manipulated artwork, derived from photographic documentation of her obtuse use of pattern cutting as an art form.

As the wall progresses, pure colour is replaced by a vibrantly busy texture, mounting the work of performance artist Caitlyn Matthews. The imposing scale of the imagery feels sensual, awkward, vulnerable, and strong all at the same time, as if exposing in synchronization, the damage to self and your own sense of awkwardness about the body.

On the opposing side of the room the dichromatic glass wall casts a flesh of dimpled light down the stepped amphitheatre where the podium placed ‘out of this scale’ art/fashion pieces from Sivinska have an opportunistic view from above, besides, and beneath. Alongside the works on the vertical planes, their place is deserving in such an immense diorama, taking in a holistic view of the artists collections. No play is being performed here, except the play of a people’s engagement in Place.

The ergonomy of experience synergizes an anatomy of artistic expression within the bone structure of Contemporary Architecture. The result forms an aesthetic of Nouveau Surrealism, not an attempt at ugly radicalism but a subtly subversive confidence in questioning the commercial and cultural ideologies of the Creative industries. Gone are the white walls of the gallery, the glass boxes of the museum as the artists ideate the 3d and 2D exposition, totalitarian curation becomes the art itself.

In the waterfall refreshment space of the bar area, my body is cupped by the bodily forms of furniture and I contemplate, Is there no end to the continuous movement around the space and curated engagement? One would think that taking refreshments would be a full stop, comma at least, in the narrative of this scripted experience?  But viewing the menu choices; it is evident that no element of this visit is in stasis.  An open call for artists of social consumption of cocktails and bar food, keeps alive an idea of constant flux and renewal. A regeneration that is not limited to the visual but engaging all the senses of sight smell, taste, sound, and touch.

This space gives time to the gallery visitor. In the figurative lounge area, the loveseat configuration encourages adjacent conversational connections. Taking in the open view to commune  around the chandelier lit canteenesque table, chance meetings are encountered whilst consuming cocktails or contemporary cuisine. Each section has a space to stay, to sit, to visually contemplate and leisurely absorb the atmosphere and artwork on show.

At first glance Aqeel Zadi Batool’s digital artwork doesn’t appear as entrenched in ergonomy as the work of Sivinska and Mathews. Yet the fantasia thrown geometry, is sensorily manipulated by the passersby, the spectacle of spheres and lines performing an off-kilter mimicry of gesture is a surrealistic engagement that is continued into the interactive art wall.

Caitlyn, how do your immersive projections connect your practice with the public?

Leaving the heady concoction of bodily immersion of the interactive art wall, there is an earthly grounding as we enter into ‘The Human Story’ vestibule. The docu-photography of everyday human connections displayed by Olivia Strettle, is a comforting capturing of the human condition of experience. On the ceiling suspended digital billboards, the powerful non subliminal messages topically endors the latest on point ethical marketing campaigns which slide through amongst the listings of upcoming events and exhibitions. The ArtBar Zine is tangible copy of the experience being able to curate your own catalogue by choosing content from the exhibition archive.

With the openness for members of the public to have an otherwise refuted opportunity to exhibit or make their own artwork on the interactive art wall, Egalitarian opportunity in the open call ethos is powered by the connectivity of global social media marketing campaigns, web connectivity and even an ArtBar situated withing the Second life AR platform – the whole world can partake in the experience.

The wit of this collective ecology leaves no malady of failure, only an organic growth of experience. The major stakeholder investment shows innovation and vision, a trust in the creative minds of this hybrid business model of art and hospitality, that maintains the circulation of public engagement. Thus, inviting a user group that spans art and design lovers, sociability, activists, and humanitarians alike. Who would not want to visit such a chemistry of creative synapses?

The next day, an engaged attitude in sharing progress of a space now infused with deep rich cohesive colour was met with a collective sigh of relief and the audible applause of group flow Sawyer, K. (2007). Collaborative choices syncopated the group dynamic – a demonstration in the efficacy of true collaboration.  The result, a transformative week of mutual support.  I handed the formative content sequencing to Christine’s offer of producing the presentation and request of collaboration on branding with Damian. Caitlyn and I relayed script editing, learning new audio software . video editing experience to Working with Shinto, Caitlyn used video editing experience to add audio to the rendered walk through. A software incompatibility glitch prevented sharing the video to Christine led to Caitlyn taking on presentation editing. Christine continued the transferal of slide graphics, backed up with the rest of us on call to source, research and develop content.

I requested permissions to use friend/acquaintance profiles as speculative but valid potential stakeholders. Researching businesse, collecting information, imagery and writing slide content.

Aqeel, Olivia and I worked to collate the 360 art/fashion images, colour balancing Jacture, photographing the wired bodice and removing backgrounds to add art content to the amphitheatre. Deciding on appropriate scale to superimpose images on podiums for still frames of the space. Unable to upload as 3D rendered pieces, this was the most effective way to splice imagery into the walk-through video.

Damian and I discussed menu styling and content. Alongside concocting fusion vegan dishes with optional minority meat/dairy, my lyrical vocabulary put art/body reference into punned cocktail names. Finalising the details together further demonstrates the efficacy of inter disciplinary collaboration, a more objective view given from someone outside subject area.

Early on we had a group prescribed aesthetic script, some engaged immediately, others took a little longer. But those that chose to ignore and abscond in preference of a personal scribe, inhibited project progress. Once files were uploaded, Zaki, seemed to disengage even more while others rallied contact to get the job done. In this last week of operation our varied working styles were evident, some methodically dot the I’s and cross the t’s, while others work into the deadline of night. Teams became a virtual office – simultaneously getting our tasks done, sharing progress, break off meets to discuss processes, providing support, and general companiable chat to keep each other going. But when the time came, the bar did not fit in the space; a square peg was trying to be pushed into the round holes of our flowing ergonomic theme. In a phone call, we discussed the disproportionate scale and exasperating clash of colour and textures which led to Zaki giving a difficult go-ahead “do what needs to be done”. Ultimately the disengagement, led to the worst outcome for Zaki. With no time to consult further compromise, a tough choice had to be made. The thought of sacrificial cutting of content misaligned the ethical conscience of participants that had to pick up the pieces. Being on call to Shinto and Caitlyn, as designated leader, I chose to bear the weight of conscience and it was my call to decisively move the project forward for the greater good of the group – the work had to be cut from the presentation entirely.

Close to the edit in the crux of deadline, Shinto flourished an extension of styling to mount the 3D art in the pinnacle of the space. Grow a bar, source flooring, lighting and sympathetic furniture to the sculpted modelled seats. Project presentation displayed a summative finality in unison. Purposefully sequential to the previous monochrome, the ambience was directed into play with the filmic motion through opportunistic creativity across disciplines. A flow of atmosphere spilled into the Create Lab with moving multi coloured light scenes timed to the lyrical vision of script. The objective – viewer engagement in the experiential impact of ethos in bodily immersion in concept; ArtBar.

References

Sawyer, K. (2007). Group Genius. Basic Books

Images

1. Opening Slide Gale, C. Witkos, D. (2023) ArtBar [Presentation Slide]
2. Branded social media, Gale, C. Witkos, D. (2023) ArtBar [Presentation Slide]
3. Press Release Gale, C. (2023) ArtBar  [Presentation Slide}
4. Open Call Art, Gale, C. (2023) ArtBar [Presentation Slide]
5. Open Call Menu, Gale, C. (2023) ArtBar [Presentation Slide]
6. Zine Styling, Witkos, D, Gale, C. (2023).
7. Video Graphics of Rendered Building, Vincent, S. Gale C. Matthews, C. (2023)
8. Potential Stakeholders, Gale, C. Sivinska McCartan, C. (2023)
9. Art/Fashion 360 Sivinska McCartan, Strettle, O. Zadi Batool, A. (2023)
10. Wire Bodice, Sivinska McCartan, C. (2023) [Wire and Filament]
11. Art Fashion Amphitheatre, Sivinska McCartan, C. Vincent, S. Strettle, O. Zadi Batool, A. (2023)
12. Cocktail Menu, Witkos, D. Sivinska McCartan, C. (2023)
13. Food Menu, Witkos, D. Sivinska McCartan, C. (2023)
14. Bar and Immersive Art, Vincent, S. Matthews, C. Zadi Batool, A. (2023).
15. Create Lab Lights 1. Matthews, C. (2023).
16. Create Lab Lights 1. Matthews, C. (2023).
17. Create Lab Lights 2. Matthews, C. (2023).
18. Create Lab Lights 3. Matthews, C. (2023).
19. Create Lab Lights 4. Matthews, C. (2023).
20. Create Lab Lights 5. Matthews, C. (2023).
21. Lounge Area, Vincent, S, Matthews, C. Sivinska McCartan, C. (2023)
22. ArtBar Producers, Gale, C. Vincent, S. Matthews, C. (2023).

Communication is key but does fault lie at the feet of the messenger when communication is cold -shouldered? Surely missing double figure chat notifications, would instigate checking a traffic jam of content?  In a project where hierarchical structure is intentionnally replaced with a collective approach, perhaps this only works with those capable of self-clarification of role, requirements, and responsibility. Endeavouring at every stage to write the messages paramountly clear with repeated simplification and returned confirmations, is this not enough?

Significant parallels in vision of the body as artful tool, connected the practices of Caitlyn and I in mutual benefice. An early unification in ethos and creative direction of ergonomy, apparently mirrored in agreement with the group. The role of any designer in group context – to work independently producing multiple visual options for collective discussion. To sign-off successes and sign-post amendments, an impossible task with an absence of shared process, discussion, explanation, or even imagery. Just told “it takes time”. The level questions were asked, ‘‘Is this too ambitious?” “Are you sure this can be achieved?” The response “it takes time”. Multiple iterations of concept reinforcement, a clear visual conveyance of aesthetic styling, confirmed in meet after meet, discussion after discussion. Why, after repetitious alliance requests to colour scheme, do colours clash and jar, or made invisible in monochrome?

Independent professional projects induced trusted competences – was I naïve? A fallacy of patronising assurances issued, a verbal pat on the head ‘”don’t worry”, “trust me” and again – “it takes time”. Responses elevating apprehension, mistrust and frankly, fear of incompetence. Unsure of other pathways I could have navigated to prevent such conflict in narrative, would this same confusion occur with a salaried initiative? Supplant the group in a commercial context of monetary dynamics; the interior designers – in receipt of warnings, potentially dismissed to leave.

Or what if gender of creative directorship were switched? Great efforts were made in careful language selection ensuring egos were unscoured with petulance. Yet the persistent, demanding, contradictory messages and implications of mistrust – compromised and internally self-questioned Caitlyn and I. In clarity of our word choices of communication, seeking assurances from the periphery of competence in leading.

Is it the leader’s role to babysit those that feel inadequately represented despite having the majority of colourless content in the presentation? The emperor’s new clothes were all I had to present. Post formative heated justifications seemed to fall on deaf ears, incomprehensible back stories assigning unprofessional blame. We should not be manipulated and bear this level of upset. Should it really take emotive action of tears and raised dominance of voice from Caitlyn and I for a male mind to listen to a female voice? To jolt action and connectedness?   A communication gap or words being banged against a wall of dismissive ignorance – a willful failure to listen and exchange?

Formative feedback issued shame and acknowledgement of failings, my own included with hindsightful incomprehension of iassigning myself presentation responsibility – when group weighting is loaded with graphic design. “Where’s the branding, where’s the colour, where’s that good idea gone?” Disdainfully nodding my head in agreement to his commentary a recognition, affirmation and reiteration of our recurrent struggled requests.

Why does it take a male voice to back up the female led concept? The impetus here, feels lit by gas.

Signs of Gaslighting at Work: Workplace Gaslighting Examples (psycom.net)

The limited choices in grouping of individuals meant there was no interview style assessment of capabilities for this project. At first envious of the cherry-picked prior planned super group, I then considered that responding to a variety of skills and experiences effectively was more of an achievement than clubbing together the elite.  The action research I undertook and personality perceptions from meetings was not only to gain knowledge of subject specific practices but also an insight to Individual working style.

Getting to know team members meant skills were utilised, linked to tasks, and called upon where necessary. As stated in the book Group Genius, the flow of creativity is more likely to happen when the strengths and weaknesses of team members are known, understood, and worked with to achieve the desired goal (Sawyer, K. 2007). Initially I thought it would be best if those with similar skills grouped together but it became apparent that Caitlyn and I had the vision to create something edgy and aspirational. My interpretation of ‘creative innovation’, was to push ourselves and learn new skills. Therefore, as discussed with Caitlyn, we mixed up the disciplines of the team to expand our creative thinking.

Christine produced weekly content for media and communications and collaborating with Damian on branding and cohesion of graphic styling. Olivia curated the content of the Zine going on to partner with Damian in graphics and branding also collaborating with Caitlyn and I in 360 photography, photography and video for art content. Caitlyn then worked further developing artwork, writing for the Zine, modelling furniture, putting together the interim presentation, and co-writing the script.

I worked with Shinto to generate ideas for the building and going through logistics and functionality of layout and interior, then he was responsible for rendering the interior. Zaki was responsible for designing the bar area and working with Aqeel on the 3D element of the project, but their software’s were incompatible. So with some advice from Zaki, Aqeel helped with the 360 photography, researching software needed and creating the Gifs and mp4 files. Aqeel also acted as general assistant alongside producing his own 3D artwork for the ArtBar. Myself, Caitlyn and Aqeel worked together to work out how the lighting rigs worked in the create lab, caitlyn curating the atmosphere and Aqeel taking on the resposibility of scene changes for the presentatyion. I worked on content creation; the art/fashion for the podiums, drawings, writing, digital artwork for the Zine. I was curated the menus and worked with Aqeel on making a frame for the art/fashion piece. All the while overseeing the group work and closely collaborating with Caitlyn on writing the script for the visual podcast and maintaining Creative Direction.

“…conventions and novelty, structure and innovation, critical and analytical mind and the freewheeling outside the box mind…” (Sawyer, K. 2007, p56)

Combining our working styles in this way aided the group flow and working methodologies became apparent as time went on. The ideology of the 9 – 5 clocking-on clocking-off highly organised individuals is often seen as being the best working method, something to aspire to. Our marketing and communications participant Christine exemplified this with her consistent level of working and sharing of progress, helping to maintain the backbone of visual development of the project. Most of the group also completed tasks efficiently in the time frame, sharing progress and keeping up with communications. Not wishing to hinder the rest of the group and their needs, enhanced my working practice and determination to make decisive choices to complete the work and help solve problems occurring.

For the blog entries, I find if I maintain a weekly commentary, the detail is too in depth and ultimately becomes a mammoth editing task. Making notes and underlining apt quotes is more effective for myself in a concise writing up process. The intensity of total immersion stabilises the train of thought and maintains a peripheral comprehension of content – a preference to the procrastinating ruminations of a long stretch of time ahead. To avoid deadline stress, rather than setting off panic thinking by recounting a long list of tasks, I use future thinking beyond a deadline to envisage all the enjoyable things you will do once work is complete. Those with the on point methodical style maintaining consistency, may struggle with brittle anticipation at the idea of the cramming persistent intense push to deadline that others thrive off with enhanced creativity. Some just leave it too late, with a knock-on adverse effect on the whole group.

There was an aim to find a balance between management and autonomy, with subgroup meetings checking in on the progress of micro projects. Some members appeared unwilling to share their work and I had to push for this several times, tactfully asking Zaki to adapt his bar designs as they were confusingly jarring to the unified aesthetic of ergonomy, despite supplying moodboard images cohesive to the immersive art experience. He seemed to have diverted towards his own agenda on styling.

Accepting an element of an individuals creative ownership through compromises, Aqeel and I persistently worked hard with Zaki, discussing textures, colour scheme and introducing a more curved styling in the furniture and layout.  Sharing of work on the interior also had to be pushed with Shinto but there was a huge relief when he shared the parametrically inspired interior CAD design that worked so well with the concept despite not wholly top my tastes.. Although as the deadline was edging closer, the delay in sharing any further progress was building tensions. To aid the cohesion of styling and show how amazing our space could look, I made a mood board with colour scheme and super-imposed images of our work so far and to help pull together on the visual styling we had all agreed on for the Interior, art content and and furniture.

As I was responsible for the visual podcast idea and script order, group leadership alongside creative co-direction, I was trying my best to put together the presentation. Issues were being raised about adding colour to the interior, curation of artwork, and having very limited resources – awaiting images of the rendered interior that were completely missing. Caitlyn and I, dealing with terse message exchanges cutting my time to change fonts and styling or include the wording I was being pressured to add due to alleged individual unrepresentation. The lyrical script was written and approved by the group but fell apart technically in recording, disrupting timings, and having to be abandoned at the time, deciding to read aloud for the Formative Presentation. Watching the prior presentations unfold in their professionalism built a deep disappointed apprehension and the tight wording, so tense to read, and difficult to hear, pinnacled the pressures – a precursor to the post feedback fallout.

References

Sawyer, K. (2007). Group Genius. Basic Books.

Images

1. Job Roles List, Sivinska McCartan, C. (2023)
2. Media and Communications 1, Gale, C. (20230 [Presentation Slide]
3. Media and Communications 2, Gale, C. (20230 [Presentation Slide]
4. Zine Curation, Strettle, O. (2023).
5. Zine cover, Witkos, D. (2023)
6. Interim presentation, Matthews, C. (2023) [Presentation].
7. Interiors Contact Sheet, Vincent, S. (2023)
8. Bar Interior CAD drawing, Tanveer Alam, Z. (2023)
9. Artwork Curation, Sivinska McCartan, C. (2023) [Presentation]
10. Drawing Gallery Format, Sivinska McCartan, C. (2023) [Presentation Slide]
11. Digital Artwork Gallery Format, Sivinska McCartan, C. (2023) [Presentation Slide]
12. Jacture 360 Photography 1. Sivinska McCartan, C. (2023).
13. Jacture 360 Photography 2. Sivinska McCartan, C. (2023).
14. Sculpdress 360 Photography 1. Sivinska McCartan, C. (2023).
15. Sculpdress 360 Photography 2. Sivinska McCartan, C. (2023).
16. Sivinska, McCartan, Zadi Batool, A. (2023) Jacture [Photograph], Huddersfield.
17. Sivinska, McCartan, Zadi Batool, A. (2023) Sculpdresse [Gif], Huddersfield.
18. Writing for Zine, The Body, Sivinska McCartan, C.  (2023)
19. Writing for Zine, The Craft of Creativity, Sivinska McCartan, C. (2022)
20. Diarrt Slide, Sivinska McCartan, C. (2023) [Presentation Slide].
21. Bar Interior, Tanveer Alam, Z. (2023) [CAD Render Image].
22. Bar Interior, Tanveer Alam, Z. (2023) [CAD Render Image].
23. Pulling Together Sivinska McCartan, C. (2023) [Presentation]
24. Pulling Together Sivinska McCartan, C. (2023) [Presentation Slide]
25. ArtBar Presentation, Cathie Sivinska mccartan, C. Atelier. (2023) [Presentation].

Appenices

Adapted from Drawings Blog post, Creative Studio, Sivinska McCartan (2022).Sivinska » 3. Drawing

The body has a beauty of sensation on multiple levels. The physical, conceptual, and creative fascination is explored through physical and artistic practice. Observations of model and self are made with a kinesthetic contemplation of haptic and physical sensation. A meditative self-awareness has been developed through a sustained enhancement of core strength and stability. Stretching, toning, and tightening of physicality leads to a cognition of the nuances of intricate anatomical complexities, intertwined musculature, and the power of somaesthetics and the body/mind connection. The regenerative movement of extended lines of the body is a physical gesture that has parallels to the introspective observational practice of drawing the female form. This connectivity enhances the hand/eye co-ordination to explore the subconscious autonomation of expression.

Drawings are kept to a minimal length and multiplied. Each repeated view of a longer pose is a new frame of visual absorption linearly discerning the subtleties of light and shade of the hollows and mounts shaped by the body. Movement based sessions create pieces that expand the liberty of expression further with acutely rapid seizure of line that abandons the constraints of mark-making accuracy to give way to an instinctual psyche of sensory gesture that searches for the fluid connection of the optical and the tactile.

The Craft of Creativity

Adapted from The Craft of Creativity Blog Post, Creative Studio, Sivinska McCartan, C. (2022). Sivinska » 5. The Craft of Creativity

Being submissive to the markets of the masses of industry and under pressure to meet targets and deadlines, is diluting the genesis of love for Fashion. With an understanding of the principles of cut and construction to the nuances of physique, calculated to the millimetre, the dexterous fashioning of cloth around the body, does not come from the Fordist production line of unrecognized skillsets on the repetitious factory floor. Not only does the facilitation of this craft have spatial awareness of form and structure, but also how the cloth and body move in synchronization by conceptualising the feel of the sculpted piece on the skin of the 3D gallery of the human form. This perceived understanding is derived from the longevity and breadth of experience and often the purity of the muscle memory of knowing. In this there is great value.

As exemplified in the world of couture fashion. Describing the purpose of a couture collections as to “show what we are capable of” (Galliano, 2021), John Galliano of Maison Margiella, has to justify the eclecticism of his vision that defines the convergence between the fine and the applied arts. The richness of the research into history, culture and craft is not to apply mimesis but to create something new in the trans-configuration of talents at the couture ateliers. In speculation, would the artists’ atelier have to defend its role in society in such a way? Is there still a social hierarchical domination of ‘Fine Art’ being placed at the top of the pyramid of the Creative Industries? At what point will the multi-disciplinary Craft of Creativity be at the nucleic core of the Ecology of Culture? (Bailey, 2021)

Addressing this discrepancy is to take on living a life of the multiplicity of the creative mind.  To craft an artistic persona requires an inspired consciousness constantly looking and listening to thoughts and visions. At the point of decision making, contemplation of reason – the merging of the artistic and technical becomes key to the art/fashion pieces having the duality of being viewed as artistic works alongside providing the faceted function of clothing. Essentially taking a pivotal silhouette around the core of the body and the core of creativity, fashions conceptual parallels in an exploration of the personal relationship between somaesthetics and artistic expression through the practice of pattern cutting. There is an experimentation of overlaying and separation of drawn graphite line on paper to scribe directly onto the body form, cutting the shape of new concepts. To disseminate the sketch of gestural expression, is a constant synaptic exchange of an application of intuition to the typically rigorous technical precision of pattern and construction. The extensive cutting and slashing of paper use a spatial instinct that manifests pattern pieces defying the standardized recognition of 2D garment geometry. Consequentially this displaced objectivity diverges the function of the pattern piece to begin a cellular mitosis of artistic development and a new aesthetic application. Contradictorily enhancing non-objective creativity.

 There is an Implementation of an artistic consciousness of the process itself, photographic methodical documentation is viewed in a holistic manner of what constitutes a good photograph with golden section positioning of work and inspection of holistic lens view. The next potential developmental stage of the artistic method of research is to Investigate reworking the aesthetics of pattern shaping and digital manipulation of the image, to make new fractal formations of art/fashion pieces – ModeArte.

1. Bailey, R., Booth-Kurpnieks, C., Davies, K., & Delsante, I. (2019). Cultural Ecology and Cultural Critique. Arts; Basel, 8(4), 166. https://doi.org/10.3390/arts8040166
2. Galliano, J Maison Margiels. (2020, July 17). Stills from video, Maison Margiela Artisanal Co-Ed Collection Autumn-Winter 2020 | S.W.A.L.K. [Video]. Maison Margiela. https://www.youtube.com/watch?v=GCnbjRlICSQ

Zaki’s original bar , Zaki’s final bar. Monochrome interioir slides

Pulling together mood board.

The recommendation to use project planning software was investigated with the suggestion of Asana or Mural. Asana seemed easy to use and an effective way of sharing information, Mural was complex and more a brainstorming platform. With a monetary subscription after four weeks and lack of engagement to look into this from all but myself, Christine and Aqeel, was this the best option? A planning schedule only works if all team members are on board. Alongside a WhatsApp group, Teams naturally became the  platform to use, with a place to upload files, images and links, keep in touch, pin important messages and engage in online meetings.

Meeting agendas, task allocation and planning deadlines were created in word and uploaded to the Atelier chat. Personal planning instigated with detailed module folders for group work and for my own practice. I have also used a rolling jobs list on my note taking tablet, a place to gather thoughts, lecture notes and a rolling weekly task list, erased as completed or moved on if not achieved. And sometimes, just old-fashioned pen on paper, a tangible respite for the tired eyes of digital screen engagement and need for charger cables and USB ports on the frequent train commute.

When making concrete lists I found that unforeseen disruptions; printers not working, public transport chaos and life events, set these rigid tasks as failures and created more stress than just prioritising achievable tasks and being decisive in the most effective use of time. Such as when you have small chunks of time, work on the easiest task to complete – uploading images , referencing, organizing sketch books, writing emails. When focused concentration is needed – choose a longer day with more uninterrupted time. And the most useful time management skill to avoide procrastination – DO IT NOW!

The idea of giving individuals a valid platform within the project, was to enable a freedom to develop subject specific practice, a desire and motivation to organise their own time effectively. To gain insights and overview, I made a point of engaging in important action research, assessing when ultimate deadlines needed to be upheld and for the necessary acquisition of knowledge. Talking to technicians for understanding processes and software, making inquiries with lecturers and staff with specialist fields, subject specific understanding, ideation and reflection with team members, fellow students, friends, and colleagues. At times I felt I may have failed the group by not having the administrative whip cracking Gantt chart of a commercial project planner. As the deadlines drew closer some individuals needed a stronger push, sticking to current competences in Word, I felt it necessary to produce a simple table of tasks, names, dates, status and deadlines being more effective and easier to follow than tackling the templated frustrations of Excel.

A micro – managed ring-fenced approach with strict blocks of Gantt Chart time leaves no room for technical difficulties, life events or changing the trajectory with resourceful dealing of problems. Becoming severely ill Caitlyn felt overwhelmed learning Sketch-Up halfway through the project to recreate the furniture designs. To alleviate the workload and reassure her confidence, it is best to work with what we have available, so how do we tackle this problem? As it was evident Caitlyn is skilled in digital manipulation of her own artwork, I suggested 360 photography and enhance the images of her sculpted furniture. Yet due to Caitlyns illness this process was not possible, Zaki rendered one of the tables in Sketch-up and Shinto developed molded shapes using Rhino software.

The way I have tackled an area where I am feeling lost, a task going off-piste, or beyond my comprehension, I have arranged meetings with individuals to discuss the issue. For example, Aqeels 3D artwork, his use of software script trajected the idea into some unknown periphery of technical jargon that I needed to de-code!  During the talk his direction became apparent – inspired by the geometry of our building, the digital artwork uses 3D graphic effects and image layering akin to the AR software Artivive. Scanning an image shows other artwork to demonstrate archival production – a window into the detailed intricacies of artistic development. Using the sensory Arduino software would also be applicable, the engagement of the passerby manipulating the image. Both would add extra dimensions to the immersive gallery experience. Without these one-to-one discursive meetings the idea exchange may not have had a position in the ArtBar.

Images

1. Asana Project Pl;anning. (2023). Asana. https://app.asana.com/
2. Mural Digital Whiteboard. (2023). Mural. https://www.mural.co/
3. Team Atelier. Microsoft. (2023). Teams Chat. Microsoft. https://www.mural.co/
4. Team Atelier. Microsoft. (2023). Teams Files. Microsoft. https://www.mural.co/
5. Remarkable note taking tablet, Sivinska McCartan, C. (2023)
6. Handwritten notes, Sivinska Mccartan, C. (2023)
7. Word DEADLINES Document, Sivinska McCartan, C. (2023)
8. Matthews, C. (2023) Modelled Furniture [Presentation Slide]
9. Vincent, S. Matthews, C. (2023) Modelled Furniture [CAD rendering]
10. Vincent, S. Matthews, C. (2023) Modelled Furniture [CAD rendering]
11. Zadi Batool, Z. (2023) 3D Artwork 1. [Digital Artwork]. Huddersfield.
12. Zadi Batool, Z. (2023) 3D Artwork 2. [Digital Artwork]. Huddersfield.

Complexity of pattern has a systematic coded construction. Is this necessary for the bearer/maker? Cutting, slashing, pressing and preparation, the piecing and trimming, the matching and tacking, stitching. Taking a project from the seed of conception through the cell dividing thought process, the sense of knowing where each point connects, how each piece will fall or not, is part of the flesh.

Exploring the process of making, encouraging each piece to take on a life of its own, leading to chance encounters changing direction of the life journey embarked with each piece of work.

Resulting in mutations of influence that cannot be foreseen in a twelve-week module life plan. Where will this piece be in 12 weeks’ time? Why is that method even a useable entity in the creative process? The tributaries of art’s creative waters don’t always work like this as new channels are carved, diverting experiential flow to an alternate destination. Why does corporate strategy have to subject neat little boxes upon the art world, why doesn’t commerce grow and tributise the valleys of Cultural Ecology in the Creative Industries instead?

The drawn application of instinctual pattern cutting is developing an indelible aesthetic method to my practice. To  step outside the boxed purpose of a technique or re-contextualise the functionality and place of a discipline, creates something new. Just as Nic Clear converges architectural Schematic drawing into graphic and marketing strategies to form peripatetic alliances. His Utopian Geometries series fragment and abstract the concept of drawing using the technology usually deployed within in CAD drawings for architecture.

I have been working on such a convergence in my practices. Digital manipulations of drawings to print fabrics, the pattern cutting process, and archival photographic documentation have been used to create abstract artwork. In this module I have expanded my knowledge and learned lots of new skills, processes and software that will enhance my future practice Such as 360 photography as an effective way to document my pieces in the future. Yet often the skill is resourcefulness and ingenuity. The photos I took of Sculpdress in the basic photographic area on the 3rd floor, had simple lighting and the portrait setting on my smartphone to shorten the depth of field. Even with limited resources and technical knowledge, good effects can still be achieved.

As with fabric printing, others wish to avoid the halo effect of the colour replacing discharge process, preferring to take experimental chances I pushed the emphasis on unknown parameters resulting in a lightning halo effect on the sheer silk pane of the devoree satin.

This low-tech emphasis evident in Nic Clears’ video for Disco Machine Gun. Despite being made decades ago, the basic effects are still engaging and I find the low tech more interesting in its distorted resolutions. Also shown in the recently viewed work of Shigeko Kubota at the Whhitechapel Gallery using, video , colour and dsitortuions of the body. To create the digital manipulated artwork I used limited technology, smartphone filters and adjustments, PowerPoint, Windows picture editor and GIMP. 

Take image – exposure adjust – filter – double print  – colour enhance – sharpen the edges + invert – reduce resolution + pixelate, sharpen, < PowerPoint – colour changes infuse glow – presets -transparency remove background –  crop, photograph distortions on screen – invert x 2 – enlarge to GIMP – find the edges, photograph, upload + process more  – trial + error, filters as paint – are they pure/fraudulent trick? Sufficient manifestation > change = true ownership?

“..the framing of something is almost as important as the work itself.” (Clear, N. 2023)

Various factors changed how the piece was to be viewed in Art Bar. The additions of podiums to the amphitheatre, conflicted with my wish to hang the piece. In discussions with Ryan Durrant, Art Technician,  Simon Baines, Hard Materials Technician and Jamie Collier, Photography Technician, the idea of laser cutting a frame was explored and Aqeel helped by drawing the shapes on Illustrator. But investigating the logistics of taking photo’s from beneath, using backdrops and turntable, alongside calculating scale, the frame to hang Sculpdress would need to be 2.5 metres high. The clear acrylic we were to use only 1000mm x 600mm meant this objective became impossible to achieve. I decided that Sculpdress should be mounted with as little photographic interference as possible. Simon laser cut an acylic disc with glued on stabilizing discs to insert a clear acrylic pole from Ryan, making a transparent plinth to mount the wired bodice. Despite not being able to hang Sculpdress, this proved an effective alternative and photographs raised up on top of the lockers gives an impression of how it was intended to be viewed.

Upon evaluation, I feel Sculpdress is still visually fashion orientated. I need to challenge the duality of exposition and functionality to develoop a piece as contemporary art but also retaining the function of a garment. When contemplating how this piece would be experienced as a hanging form, the discomfort of viewing the interior from underneath was initially a deterrent. Yet a skirt lifting visual discomfort may challenging perceptions – exposing the artistic inner self with impact.

References

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

(23) Lo Fidelity Allstars – Disco Machine Gun [Official Video] – YouTube

Images

1. Sivinska McCartan, C. (2023). Sculpdress Front. [Wool, Silk, Cotton and Metal]. Huddersfield.
2. Sivinska McCartan, C. (2023). Sculpdres Right Side. [Wool, Silk, Cotton and Metal]. Huddersfield.
3. Sivinska McCartan, C. (2023). Sculpdress Backt. [Wool, Silk, Cotton and Metal]. Huddersfield.
4. Sivinska McCartan, C. (2023). Sculpdresst. [Wool, Silk, Cotton and Metal]. Huddersfield.
5. Sivinska McCartan, C. (2023Shape Exterior [Wool, Silk,Cotton]. Huddersfield.
6. Sivinska McCartan, C. (2023). Ruffle Close [Wool, Silk, Cotton, Linen and Metal]. Huddersfield.
7. Sivinska McCartan, C. (2023).  [Wool, Silk, Linen,Cotton ]. Huddersfield.
8. Sivinska McCartan, C. (2023). Section Perfection. [Wool, Silk, Linen, Cotton]. Huddersfield.
9. Sivinska McCartan, C. (2023). Print Exterior. [Wool, Silk, Linen and Cotton]. Huddersfield.
10. Commercial Projects [Presentation Image]. In Clear, N.. (2023). Convergence (p9)
11. Utopian Deometries, drawing01[Presentation Image]. In Clear, N. (2023). Convergence (p39)
12. Chronogram01 [Presentation Image]. In Clear, N. (2023). Convergence (p40)
13. Sivinska McCartan, C. (2023) Sculpdress, Macro Back [Silk, Linen, Wool, Cotton, metal] Huddersfield.
14. Sivinska McCartan, C. (2023) Sculpdress, Super Macro Side Front [Silk, Linen, Wool, Cotton, metal] Huddersfield.
15. Sivinska McCartan, C. (2023) Sculpdress, Back Macro [Silk, Linen, Wool, Cotton, metal] Huddersfield.
16. Sivinska McCartan, C. (2023) Monochrome Paper Window[Digitally Manipulated Photograph] Huddersfield.
17. Sivinska McCartan, C. (2023) Enhance Print [Digitally Manipulated Photograph] Huddersfield.
18. Sivinska McCartan, C. (2023) PixelPrint [Digitally Manipulated Photograph] Huddersfield.
19. Low Fidelity Allstars. Disco Machine Gun [Video Still]. Skint Records. https://www.bing.com/videos/search?&q=Lo+fidelity+allm+stars+disco+machine+gun&docid=603547801101100137&mid=199E98361EF34B8D64AF19
20. Shigeko, K. (1974) Analogue Magnestism, Action,[SD Video] Gesture, Performance: Femionism the Body and Abstraction, Whitechapel Gallery, London.
21. Sivinska McCartan, C. (2023) Papier Fenetre [ Digitally Manipulated photograph].
22. Sivinska McCartan, C. (2023) MacroLayer [ Digitally Manipulated photograph].
23. Sivinska McCartan, C. (2023) Sett [ Digitally Manipulated photograph].
24. Sivinska McCartan, C. (2023) Sharp Points [ Digitally Manipulated photograph].
25. Sivinska McCartan, C. (2023) Sculpdress, Hepworth Hang Side Front [Silk, Linen, Wool, Cotton, metal] Huddersfield.
26. Sivinska McCartan, C. (2023) Sculpdress, Hepworth Hang Back [Silk, Linen, Wool, Cotton, metal] Huddersfield.
27. Sivinska McCartan, C. (2023) Sculpdress, Hepworth Hang [Silk, Linen, Wool, Cotton, metal] Huddersfield.
28. Sivinska McCartan, C. (2023) Sculpdress, Hepworth Hang Front [Silk, Linen, Wool, Cotton, metal] Huddersfield.

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).

Gathered from our varied skillsets the freewheeling group brainstorming led to inspiring tangents of enquiry far beyond our personal and mutual expectations. We generated a group/project name to become team Atelier – a studio. Multiple venue names were considered, but to maximize SEO description, I suggested the simplicity of ArtBar, re-enforced with Alex’s critical feedback of conceited complexity. I merged the discarded suggestions into the promotional scripted for the space, acting as acknowledgement of joint contributions.

ArtBar

A visionary vault of hybrid collaborations between art, design, and hospitality. Wine and dine to a fine art in a sumptuous oasis of creativity, with an ergonomically designed environment derived from the aesthetic lineage of the human form. Socially immerse yourself in the world of contemporary art, combining exhibition, performance and interactive installations with a rolling events, beverage, and cuisine menu (Sivinska Mcartan, C. 2023).

Such SEO engagement, tutorial feedback and prior knowledge, I researched comparable innovations to our project. There is an ‘ArtBar’ in Bath and Vienna, and The Pelican Bar in London, housing wall mounted artwork. There are concept driven projects such as Lucy McKenzie’s Nova Popularna, an artist’s collaboration temporarily bringing the bar into Warsaw’s Foundation Gallery Foksal in 2003 and the ‘anarchitectural’ takeover of disused New York spaces in Gordon Matta Clark’s collaboration Food.

Public engagement was at the core of Janine Sykes’ Home project for East Street Arts (Sykes, J. 2023). The blended curation of ArtHostel, where guests stay in artists concept themed rooms and dormitories , the profits circulated back to fund future art endeavors – the first of its kind in Europe. Similarly, with no exclusion of interaction between sociability and art, the elemental amalgamation of concept, architecture, artwork, bar, dining, performance, and immersive art , makes Ateliers’ ArtBar innovative and challenges cultural ideologies within the Creative Industries.

The architectural and civil engineering experience of Shinto generated schematic drawings of not just an internal structure but whole building designed around ergonomics and the letters AB for Art Bar. Our mutual interest in Architecture spawned a collaboration on concept requirements and an aesthetic wish list of a light filled atrium and the inclusion of an amphitheatre.

From the original pointed elliptical layout, I wished to push the asymmetry sketching skewed geometry to fit with the lines of the body. There was either slight message misinterpretation or dislike of these images, unused in the finalised layout design. Highlighting the importance of in-person meetings tocommunicate ideas more effectively. Despite this lack of idea incorporation, the back-and-forth discussions effectively embedded the visual brand of ergonomy into the space.

Similarly, my interpretations of logo design played with the alphabet geometry of A and B. Disappointingly this wasn’t considered but the suggestion of looking into the work of Henry Moore resulted in the rounded flowing lines that the rest of the group agreed on, perhaps my parental experience of encountering many child orientated graphics and spaces deterred me from this aesthetic.

True collaboration requires trust in capabilities to perpetuate concept and vision of a project. In this sense I saw the role of leadership to perceive strengths and capabilities and forge appropriate connections between the team players. To facilitate this, I engaged in the inquisitional questioning of action research with individual and sub-groups, to gain understanding of subject specific technology, software, processes, timescales, and requirements.

This questioning was concurrent with lecturer tutorials and meetings with the insightful knowledge of technical staff at the University, such as Stephen Calcutt, Head of Technology. Wishing to make use of the advanced technology available, we discussed options available for the interactive aspect of our space, resulting in undertaking the 3-hour Arduino software workshop.

The digital manipulations were worth investigating, the concept was speculatively incorporated to develop public engagement in the immersive 3D graphic artwork of Aqeel Zadi Batool. The sensory analogue interplay relaying values of movement, light, pressure, sound, and sonar through coded electronic circuits is exemplified in The Wooden Mirror by David Rozin.

Another of my ideas incorporated, was locating the Interactive Art wall beneath the curved cavity of the amphitheatre. Collectively working on the initial photoshoot to investigate the artistic efficacy and logistics of lighting, projections, cameras, this was the obvious location to maximise space available and optimal use of immersive aesthetics.

Caitlyn and I pulled together visual styling with an uncanny esoteric conversational connection to generate an intense synergy of creative thought.  Two females with intergenerational disparity, syncopated in perception and cognitive flux surrounding a fascination with the body as an expressive tool. Bouncing from one discursive dissemination to the other manifested a powerful ethos and aesthetic vision for the collaborative philosophy.

Personal practices independently influenced by the reflective responses to exchanged, expressed vocal narrative, sparking new levels of directive confidence. This twinned conceptual vigour initiated a vital partnership in creative direction a strong endorsement of designated leadership.

Moving aspirational ambitions forward, my concerns over budget and speculative unreality of our project were discussed with Stephen Calcutt and in a tutorial with Katrina Whitehead, Lecturer in Fashion Promotion, as practitioner and with students undertaking many creative collaborations, fashion shows and exhibitions. Both conversations gave affirmations to the importance of aspirations and resourcefulness. Alongside the connection to Arduino software, ArtBars’ speculative reality may also be virtually positioned in the SecondLife arena of global socialisation, marketing and online exhibition space and the use of augmented reality with visual backstories to art viewed through Artivive.

References

Sykes, J. University of Huddersfield (2023, January, 23). Home [Presentation]

mages

1. Vincent, S. (2023). ArtBar Schematic Drawing. [CAD Drawing]. Huddersfield.
2. ArtBar. (2023). Bar Area [Photograph]. ARTBAR. https://www.artbarblog.com/
3. McKenzie, L. (2021/2022). Lucy McKenzie. [Uniform and Exhibit Display] Exhibited at Tate Liverpool October 2021 – March 2022.
4. Matta Clark, G. (1971). Food [Art Installation]. Pinterest. https://www.pinterest.co.uk/pin/299489443941533875/
5. The Precious Collective The ArtHostel. (2021). The Outside Inn [Dormitory]. The Art Hostel. https://arthostel.org.uk/portfolio/the-outside-inn/
6. Vincent, S. (2023). ArtBar Amphitheatre. [Render Image]. Huddersfield.
7. McCartan, C. (2023). ArtBar Layout Sketch. [Pencil on Paper]. Sheffield
8. McCartan, C. (2023). ArtBar Layout Sketch Two. [Pencil on Paper]. Sheffield
9. McCartan, C. (2023). ArtBar Layout Sketch Threee. [Pen on Paper]. Sheffield
10. McCartan, C. (2023). ArtBar Logo Sketch. [Pen on Paper]. Sheffield
11. Witkos, D. (2023). ArtBar Logo. [Graphics Image]. Huddersfield.
12. Arduino. (2023). What is Arduino [Webpage]. Arduino. https://www.arduino.cc/
13. McCartan, C. (2023). Arduino Workshop [Photograph]. Huddersfield.
14. McCartan, C. (2023). Arduino Circuitboard [Photograph]. Huddersfield.
15. McCartan, C. (2023). Arduino Workshop Sketch [Screenshot]. Huddersfield.
16. Rozin, D. (2007). The Wooden Mirror [Wood and Circuitboards, Video Screenshot]. Microsoft Bing. https://www.bing.com/search?q=Interactive+art+with+wooden+mirrors+-+The+wooden+mirror+(1%2F4)+-+Bing+video&cvid=9128a36d761c4065a4f1db54ce65767e&aqs=edge..69i57.10790j0j4&FORM=ANAB01&PC=DCTS
17. Rozin, D. (2007). The Wooden Mirror Detail [ Wood and circuitboards, Video ScreenShot ]. Microsoft Bing. https://www.bing.com/search?q=Interactive+art+with+wooden+mirrors+-+The+wooden+mirror+(1%2F4)+-+Bing+video&cvid=9128a36d761c4065a4f1db54ce65767e&aqs=edge..69i57.10790j0j4&FORM=ANAB01&PC=DCTS
18. Galliano, J. (2023). Galliano Inspiration Interactive Artwall [Presentation Slide]. In McCArtan, C. (2023). Interactive Artwall MoodBoard (p.2)
19. Matthews, C. (2023). Caitlyns’ Inspiration Interactive Artwall [Presentation Slide]. In McCartan, C. (2023). Interactive Artwall MoodBoard (p.3).
20. Sivinska McCartan, C. (2023). Random shots Interactive Artwall [Presentation Slide]. In McCartan, C. (2023). Interactive Artwall MoodBoard (p.6)
21. Matthews, C. (2023). Caitlyns’ Inspiration Interactive Artwall [Presentation Slide]. In McCArtan, C. (2023). Interactive Artwall MoodBoard (p.4).
22. Second Life. (2023). Oasis bar? [Screenshot]. SecondLife. https://secondlife.com/
23. Artivive. (2023). The Future of Art [Screenshot]. Artivive. https://artivive.com/

WebPages

Arduino – Home

Home – Artivive

Check in at The Art Hostel: Ziggy Wingle by Alison Smith – East Street Arts

https://www.tripadvisor.co.uk/Attraction_Review-g186370-d5413308-Reviews-ArtBar-Bath_Some

Gordon Matta-Clark – Food (museoreinasofia.es

Interactive art with wooden mirrors – The wooden mirror (1/4) – Bing video

The Double Negative » A Modern Total Artwork – The Case For Lucy McKenzie’s Nova Popularna

The Outside Inn by Precious Collective – Art Hostel

(84) Pinteres

Official Site | Second Life – Virtual Worlds, Virtual Reality, VR, Avatars, and Free 3D Chat

Module Leader, Professor Alex Coles’ publication series EP (Extended Play) is based on the interim format between a Single Play vinyl and Long-Playing album. The concept is to meld the discursive intellectual weight of academic art and design journals such as Domus, with the edgy public vacuity of cool culture magazines such as Frieze. Despite collaborating with a renowned design team to materialize the styling, the logo and circular image, lacks the magnetic impact of fashioning culture publications or uber stylish journals and the efficacy of the logo was in question. Rather than collaboration, the deployed process appeared commission based with a directorship of control that Coles, openly states is difficult to relinquish (Coles, A. 2023)

                                                                                   

The ideation of work is a bearing of creative fruit. As the visionary in a project it is often difficult to renounce responsibility and prideful ownership of your work. On watching the documentary Westwood: Punk, Icon, Activist (Tucker, 2018) the aggrandisement of global expansion subjected Westwood to an emotional dichotomy upon being told international stores stock a plethora of plastic shoes. Sharply grating against her environmental standards of design and diluting the iconoclastic statementing in the meaningful oeuvre of her vision. Both modes of production have a monarchical structure of creativity, whose heir may not have parallels in practice. Alex’s choice of maverick abdication of the EP project shows that he is the project – unwilling to relinquish the lineage to another – the project ceases to exist. Without the vision of the fashion royalty Vivienne Westwood, it is yet unknown if the brand can continue to co-exist with her absence.

So, How to have succession in a project?

The head of state must implement a strong house, scripture, theme, dictum, core concept – a brand.

Studying Art and Design at master’s level, we have collective capacity to be visionary within the Creative Industries. This may have been problematic assigning commerce defined roles as described by Janine Sykes, Lecturer in Art, in the talk on project management (Sykes, J. 2023). Creative innovation and Entrepreneurship being the penultimate module to our Final Major Project, my looming thoughts if allocated an unsatisfactory role, were of a possible complete waste of time.

Therefore, to be thrown into a musical chairs panic of deciding group members, prior knowledge of individual practices from the Creative Studio Module, sent haste emails requesting collaborations. Namely with Caitlyn Mathews whose work in Contemporary Art had evident parallel concepts with my own practice; the body as a vessel of expression and aesthetic view.

Our introductory edgy atmosphere mirrored my anxious anticipation of relinquishing relevance in practice. Caitlyn and I, interplaying a seizure of scribbled notes and exchanges of verbal confidences, interjected a rigorous desire to perpetuate our narrative within this choiceless collaborative confinement.

Yet such a drive inverted the gaze of the group to the pole of our leadership, not a conscious will of authoritarian dominance, but a gravitation towards strength in ideation and determination of mutual benefice. The answer of ‘Cathie’ unanimously exposed the natural selection of personality traits with the question ‘So who is going to be project leader?’

From our initial introductions, our mood board thoughts were presented through visual impetus of previous work, ideas, and desired outcomes for the project. Connecting the lines of comparison led to natural categorisation of input from team members. Several of us had a human emphasis unifying the decision of ‘the body’, and ergonomics to be the core theme.

I wished to consolidate opportunities to enhance all individual outcomes benefitting the final major project. Having a gallery showcase would give many of us the chance to incorporate our practice and I suggested blending the pop-up gallery idea with hospitality. Adding immersive experience, marketing and publishing to create a  hybrid between gallery/bar/performance space.  Contemporary exhibitions, themed rooms, a weekly ‘art wall’ where public and artists could create their own wall piece, performance vestibule, lecture and discussion program, a rolling digital art screen, Interactive installations all combined with hospitality and socializing to create an ‘ArtBar’.

References

Coles, A J . University of Huddersfield. (2023, January, 19). EP Talk [Presentation].

Tucker, L (Director). (2018) Westwood: Punk, Icon, Activist [Television Broadcast]. BBC.

Sykes, J. University of Huddersfield (2023, January, 23). Job Roles [Presentation]

Images

1. Domus Journal Cover [Presentation Image]. In Coles, A. (2023). EP Talk (p.4)
2. Tucker, L (2019). Vivienne Westwood [Video Still]. Youtube
3. EP Publication Cover [Presentation Image]. In Coles, A. (2023). EP Talk (p.4)
4. Freize Magazine Covers [Presentation Image]. In Coles, A. (2023). EP Talk (p.3)
5. Alamy (1987). Vivienne Westwood, trying on her crown [Stock Photograph]. British Vogue. https://www.vogue.co.uk/fashion/article/decoding-the-personal-style-of-vivienne-westwood
6. Job Roles [Presentation Slide] in Sykes, J. (2023) Job Roles (p. 1)
7. Mathews, C. (2022) Naked Atelier [Performance Photograph]
8. Mathews, C. (2022) Naked Atelier 2 [Performance Photograph
9. Mathews, C. (2022) Naked Atelier 3 [Performance Photograph]
10. Sivinska McCartan , C. (2021-2022). Slublean [Pencil on Paper]
11. Sivinska McCartan , C. (2021-2022). Bold Identity[Digitally Manipulated Photographs]
12. Sivinska McCartan , C. (2021-2022). Elemental Phrases[Presentation Slide]
13. Initial Ideas Slide [Presentation] In  McCartan, C. (2023). Artbar MoodBoard (p15)
14. Categories Slide [Presentation] In  McCartan, C. (2023). ArtBar MoodBoard (p16)
15. Buildings Slide [Presentation] In  McCartan, C. (2023). ArtBar MoodBoard (p2)
16. Interior Slide Slide [Presentation] In  McCartan, C. (2023). ArtBar MoodBoard (p3)
17. Fashion Installation Slide [Presentation] In  McCartan, C. (2023). ArtBar MoodBoard (p4)

Web Pages

314 architecture studio designs a curved house on the greek coast (designboom.com)

Artist Barbara Hepworth – The Hepworth Wakefield

The aim of this written and visual portfolio documentation is to compile a thematic, rather than chronological framing of the Individual and group work undertaken for Creative Innovation and Entrepreneurship.

The writing style is Inspired by The Optical Unconscious by art historian Rosalind Krauss (Krauss, 1994). The objective is to develop a writing style linked to practice with a future aim to publish. When the script is fact and critique there is plain text. This involves factual descriptions of method, technique and reason. The critique is a reflective analysis of module content, research and outcomes in relation to collaboration and personal practice.

The italics hold the lyrical narrative of the sensory and emotive response to creativity and interactions with others. A delve into wrapping words around subconscious processes of practice and perceptions of established ideologies. Enveloped by aesthetic imagery, or not, to give impact to the interpretations on applications of artistry in this module.

References

Krauss, R. (1994). The Optical Uncoscious. MIT Press.