AUTOMATISM EXPERIMENTS
This paper is a continuation of the AUTOMATISM-paper. After working with the different techniques in AUTOMATISM I have split the techniques into two subjects; Shape and texture/textile. In this paper I have altered and elaborated the automatism techniques in a way, so that the techniques could generate substance for shape and texture/textile. I have chosen to focus on some of the techniques, figuring out what techniques were most suitable for shape, and which techniques were more suitable for texture/textile. Shape: For shape investigations I have altered and refined the techniques; Aerography, entopic graphomania, soufflage, outagraphy, coulage. Some of the techniques are later used in combination with each other. Collage has been a suitable technique to bring the automatism techniques into a fashion context, keeping the use of the techniques in mind at all times while performing the experiments. I have chosen to keep all shape experiments in neutral colours, as a way of not focusing on anything else but the shape. Texture/textile: For texture/textile I have refined and looked into the techniques; frottage, decalcomania and entopic graphomania. I wanted to create the same expression as in the paper drawings from the 3 different techniques. I have done most of the samples on white textile - in different qualities - chiffon, satin, polyester and cotton. The different surfaces would provide a different look for each technique depending on the material quality and thickness.
REVERSE AEROGRAPHY
This technique derives from the Aerography technique. The created 2D stencils are reversed into 3D objects by working in white clay. Dogma; To re-build the 3D objects from the given 2D stencil by only using geometric shapes.
COULAGE The original coulage technique is unvolentary sculpturing - creating small sculptures by pouring hot wax in cold water. In the refined technique, different types of textile are used as the hot wax. The textiles are folded and sculptured. This way new shapes are created.
SOUFFLAGE The refined technique is inspired by the soufflage technique. Instead of blowing on wet paint you simply wiggle the chains and by doing so, create new, interesting shapes in relation to the body.
ENTOPIC GRAPHOMANIA This technique is the refined entopic graphomania technique. Instead of combining dots with either straight or curved lines, this technique has evolved into a paper-folding technique, where you simply just fold the paper in straight lines, and then try to fold it into a 3D shape.
OUTAGRAPHY
This technique is a refinement of the outagraphy technique. The Outagraphy technique presented in AUTOMATISM is carried out as normal, but instead of looking at the outagraphy as a flat 2D shape, you fold and twist the outagraphy into a 3D shape.
FROTTAGE
This technique is derived from the frottage technique. The technique is in itself not like the frottage, but the outcome of the textile manipulation looks like the frottage. I wanted to immitate the surfaces that I had created with the original frottage technique in black and white. Layering transparent textile on top of not transparent textiles gives an interesting expression with this technique. - It almost gets even more random than originally.
DECALCOMANIA
This technique is derived from the decalcomania technique. The technique has been executed just like the normal decalcomania technique. I have been playing with the opposite; structure/chaos transparent/massive. The colours interfering with each other and creating innovative patterns, is very interesting.
ENTOPIC GRAPHOMANIA
This technique is derived from the entopic graphomania technique. I have bonded different kinds of textile together. The pieces glued to the ‘main piece’ are cut in random shapes. Some of the samples have been worked on with decalcomania and then cut into pieces. The top right photo is done by using masking tape to control the area on which there is dye. I like the white on white look - that you have to look closer to actually see what is going on. I like the different materials working together and the transparent/nontransparent look.
//Automatism Spring 2015 Anne Kirstine Kromand Krogh Annekkrogh@hotmail.com +45 25399091