Ba project, body and surface by Zoe Philine Pingel

BA Project body and surface

Zoe Philine Pingel bachelor thesis/ project supervised by Dr. Prof. Baron Kรถln International School of Design summer term 2017

Contents Introduction........................................................................ 6 Object Nr.1, wearable........................................................ 10 Series Nr.1, immediate textiles............................................ 19 Object Nr.2, home............................................................. 33 Object Nr.3, corner............................................................ 41 Series Nr.2, head coverings.................................................. 47 Object Nr.4, container...................................................... 69 Conclusion and exhibition................................................ 79 Bibliography...................................................................... 82 Websites.............................................................................84 Image directory. and Declaration of authenticity.................85

Introduction My final project is to be understood as an exploration into the interplay between body and surface. The exhibition consists of a diversity of objects and textile surfaces that invite the public to interact with them. Every object represents an idea or a question related to my research. My research and written proposal for this project (Proposal Nr.1, body and surface) depicted the idea that identity is projected onto surfaces. The range of overlapping theoretical perspectives offered a constellation of different outlooks which together provide a framework to rethink the way we relate to surfaces. I questioned my own role as artist or designer when it comes to creating new surfaces, hiding places, masks and other wearable objects. In what way can I capture, form and reflect the search for privacy? Research base is the assumption that the construction of privacy is raising self-awareness and allowing observation of daily life from a different perspective. The goal is to create textile objects, mechanisms that enable immediate construction of private spheres around oneself. This booklet means to accompany the exhibition as a description and guide to my work.

Questions I started with: Why and where do we search for privacy? How can I create something that has no clear definition? And what can be done with it as opposed to how it appears or what it is?

Object Nr.1 wearable

Object Nr.1, wearable, deals with concepts of body, identity and performance. Our identity is performed through an act, an activity. It builds upon the semiotic system behind it, a system of representations of codes. When creating the wearable object I thought about how the fabric forms should look like and how they should connect. I wanted to construct a textile piece with no specific center, no defined inside and outside, with no hierarchy in itself. It should also be able to grow or to be dismantled. It should feel comfortable and warm when worn. It should give the beholder the desire and space to interact with it. The Object consists of 28 pieces, made out of black felted wool. Each piece is a cylindric form and measures ca 30x40 cm. On the outside of each piece there are 4 metal snap fasteners, two bottom and two top parts opposite to each other. In that way they can all connect to each other and everytime form a unique silhouette. The object might seem to stand on itself when displayed, but it gains its true meaning while being performed.

The overall impression should cause confusion and make everyone present question the traditional idea of wearing a textile object. My intention is to think about what a textile form can do, or what can be done with it as opposed to how it appears or what it is. The action shows my thoughts on identity and blurs out definitions. It aims to emphasize androgyny by visualizing transformation of medium and object. In the end it is not only the interaction between medium and object, but also the publicâ&#x20AC;&#x2122;s perception playing a decisive role. The space allows the dialogue between performance and public.

Series Nr.1 immediate textiles

private and public The adjective private derives from the latin word privatus ‘withdrawn from public life’, a use of the past participle of privare ‘bereave, deprive’, from privus ‘single, individual’. Etymologically the antonym to private is public, from Latin publicus, blend of poplicus ‘of the people’ (from populus ‘people’). 1 Public means accessible to everyone as well as regarding everyone. Something private can be both intimate and/ or secret. Something secret can belong to the public sphere though (e.g. State secret), as well as something intimate can be exposed to the public (e.g. leaked pictures). The same goes for something public, which can become a private sphere for a certain amount of time (e.g. dressing room).These reflections point out that there can be no defined and mutually exclusive spheres of the private and the public, rather a perception or an illusion. Access to the private can be spatial (openings such as windows, gardens, zippers, sleeves etc) as well as figurative ( collection of data about someone). The debate about privacy portrays the essential difference between the foreign and the familiar, between the self and the other. The borders of these are fluent and shifting but of great importance for oneself. That implies that space with its borders needs to be determined consistently. 1. definition by Oxford Dictionary of English

hiding To hide oneself is a natural reflex that we learn since childhood. As we placed the palm of each hand in front of our eyes, we assumed that we disappeared, that we are no longer visible for the outside world. This action is formative to the construction of our own identity. Maybe it is one of the first moments in which we search for identity. Another example is the construction of a cave with stools and a blanket, in order to create a personal refuge. A space that was only accessible for oneself and exclusive from the adult world. Later on we search for spaces as refuges, for contemplation and intimacy. The word hiding is etymologically related to terms such as concealing and preventing from being seen. There seems to be a negative or mysterious connotation with these words. The action of covertness or the person covering something is linked to a deceitful and suspicious act. To the contrary, to hide ones emotions or an information can also be a way of protecting, which again is related to the word shelter. The anonymity that a shelter can provide is crucial to the protection of a person that is for instance exposing information that is been kept secret (whistle blowers).

The basic principle of hiding is the constant translation from one space into another, the positioning of something in front of oneself, the covering of the active subject. Therefore the hiding place is a shell, a type of covering, behind, underneath or inside of something. In order to understand the different dimensions of the term hiding, I want to consider the motivation and the act itself. The natural need to construct a private zone implies certain mechanisms and principles that are used to maintain it.

construction of private spheres As we chose to wear long or short sleeves, to cover up with layers or to hide under a hoodie, we live in rooms with windows and walls, we construct tends and pavilions. We make concrete choices when it comes to construction of space. I am interested in those constructions which are flexible, temporary and provisional and undermine our understanding of borders and surfaces as static, slow and stable. In social encounters (oneself in the public) we learn how to hide emotions or thoughts with mimic and gestures. There are hidden messages and signals in behaviour and statements as we use rhetorical methods in language. The behaviour of hiding is not necessarily a sign of despondency or deception. We try to find the balance between hiding and exposing of our identity. The construction of a private sphere is not a fixed space, rather a condition in which one can position oneself. In order to do so, we appropriate objects and use them as helping tools. These mechanisms create a wall between the inside and the outside (such as sunglasses, headphones, the use of a smartphone), especially between the face and the public. With this appropriation we define a specific space in

which we claim our right to be left alone. Within this space we are the ones who decide what to expose with whom. Most importantly it is a condition of being undisturbed and safe. We all have the desire to go into that sphere of our own, escaping society with its norms and taboos. To define that sphere and its frame is crucial to the development of self-awareness. It boost autonomy of a person and gives it the control to decide about personal issues, benefits individual independency and promotes interpersonal relations. As the sphere is chosen and constructed, a constant debate between social norms and private autonomy takes place. The private sphere can be an imaginative place. We escape to these places through different media such as games, books, movies and social networks. This shows that privacy is not only the exclusion from the public in order to cover something or protect oneself, but also a booster for our phantasy. Not only can we escape as a â&#x20AC;&#x2DC;selfâ&#x20AC;&#x2122; from the public, we can also suppress emotions or thoughts, in a way in that they are hidden from ourselves. This shows that within a private sphere not everything is open. There are spheres within spheres within spheres and many of them are kept untouched.

creating immediate textiles I developped a series of pieces that offer immediate covering of oneself. Throughout the form finding process of those immediate surfaces I intuitively cut, teared, folded shapes of foil, textile and paper. I was looking for the consequence of a body interacting instinctively with a given surface. What happens when we make a cut and enter the surface? These actions were crucial in the development. I documented them in form of gifs, which reflect the quick working method, the fluid appearance of materials and the variety of possibilities. In the exhibition I show three final pieces as a series.

I attempted to answer the following questions: How can I create something that doesnâ&#x20AC;&#x2122;t anitcipate function or use? How far I can create an openness in material?

The first piece is a 140x202 cm rectangle made of yellow dyed cotton fabric. I perforated the textile by hand (punching out little holes), leaving it open for the beholder to rip it or not. This technique represents my idea of openness in material and the potential of an interaction. The design of the perforated lines is symmetrical. By implication this means that the beholder is not guided how to wear it. In order that the edges of the fabric donâ&#x20AC;&#x2122;t unravel, I melted a thin transparent plastic stripe into the cotton. This way no sewing is required and the fabric can be easily cut. I translated the concept for the first piece into a smaller version and made three versions of masks, which measure 20x26 cm. One is made out of the same yellow cotton than the first piece, only this time I used laser-cutting technique to perforate the designed image. I researched materials and experimented with the lasercutter. Two of the masks are made of gold foil, which traditionally is used in savety blankets. The material is isolating and keeps the user warm. Currently these safetyblankets are mostly used in the refugee movement. Against this background I chose the material to symbolize safety. In contradiction to this the material also reflects light and shines golden, being reminiscnent of glamour and attention.

Object Nr.2 home

Maybe the reason why I find myself urged to create material mechanisms in order provide privacy is the wish for a good space in which I can concentrate, let my mind run free and yet not to be excluded from the outside world. I do not feel connected to a country as my home and since I do not have my old child’s room anymore I have no concrete space to go back to and feel home. I’m in constant movement, moving from country to another, from one house to the next one. My desk at the Txt department at the Rietveld Academy in Amsterdam might be my temporary home. Through the window in front of me I can observe the outside, yet my table, the plants and books, and the half wall that separates me from public give me the feeling of shelter. My back is turned to the others when sitting at the desk, so it is left for me to decide when to turn around and find social interaction. These elements provide a good balance for me to feel confident and home for a certain amount of time, until I transition into another space. Home has it’s origin from the germanic word ‘Heim’ and relates to a place where one lives as a member of a family or a household, sometimes linked with a country. The word ‘ heimlich’ in german is related to ‘Heim’ and means to do

something in secrecy, a personal private thing or action. To do something â&#x20AC;&#x2DC; heimlichâ&#x20AC;&#x2122;, means to not share it with a public, maybe in order to contemplate something. 1 What is a home if not a temporary spatial quality in which one lives? To find the balance between being in public and private at the same time simulated my investigation into looking for material forms that allow that interplay. Forms in fashion or architecture that relate to that tension between interior and exterior interest me the most. A good balance of openness and closeness is an important aspect to build a good spatial experience. 1

definition by the Oxford Dictionary of English

But how much enclosure would be sufficient for me to be in my personal space, yet at the same time not lose touch of the social dynamic around me? How much openness will make me comfortable?

Object Nr. 2, home, depicts a white duvet blanket with five openings in the centre. It measures 140x200 cm and is made of bleached cotton lined with synthetic material. The edges of the openings are handsewn. Two of them have a cotton strap attached. On both sides of the blanket you can find two metal snap fasteners. The object itself does not anticipate the way it is supposed to be used. It might be used as a blanket but can quickly transform into a garment for all body types and sizes. I researched folding techniques and came up with one that would allow me to interfere least with the material itself. On the next page the technique is shown. The idea for Object Nr.2, home, came up when I had no place to live. I was walking down the street and encountered a box with a duvet inside. The search for a spatial quality fueled my creative process and led me to invent a new type of garment.

Object Nr.3 corner

Object Nr.3, corner, was developed parallel to Object Nr.2, home. It is based on the idea of creating a semi open space. The aim was to make a surface that encompasses the notion of transparency, privacy and flexibility. For this purpose I challenged myself to create it from scratch. I used a foot-treadle floor loom to weave it by hand, which took me 2 weeks of weaving 8 hours a day. The loom holds the warp threads, in this case bleached cotton, under tension to facilitate the interweaving of the weft, in this case nylon threads. Due to the material propoerty of nylon, the threads build up tension and the surface curls. Additionally a moire effect results because of the combination of plastic and cotton threads. The weaving technique used in this piece is double plain weaving. The warp is split into two; every second thread is part of the upper layer. This generates two layers in one weaving process. The layers are connected on one side which creates a corner when taken off the loom. The result is a semi transparent, flexible, waterproof and strong surface, 80x136 cm, which unifies questions about space and transparency with concrete material solutions.

Series Nr.2 head coverings

During the last years I have been researching the way we project our identity on surfaces. I attempted to change and interfere with different kind of surfaces, creating immediate textiles, hiding mechanisms, spaces of privacy. In the last months I moved from the body to head coverings and tried to make a collection. I questioned the traditional idea of making a collection and what it means to me. To collect means to gather together. A collection defines a group of things or people. My aim is to connect these two by material forms. Through experimenting and playful making process I realised my own take on what a collection is. A collection of 12 head pieces was created. The material used is pink plastic foil with melted edges. I developed a series of geometrical shapes not wider than 60 cm, a width used in standard trash bags. I set myself a framework: the form finding process had to be based on rectangular and circular shapes and limited to cutting and folding. The material should be easily accesible. I played with the idea that the color and material itself carries connotations such as waste, inexpensiveness, butchers workwear, cleanness and fetish. The color makes me think of pinkness, my experience in foreign places, where pink shines in a different light.

measurements: p.50: Cover to see, Cover to not see, 30x30cm p.52: Take object, 30x37cm p.54: Duo, 30x188cm p.55: Single, 60x60cm

p.56: Case, 40x60cm p.58: Outlook, 30x30cm p.59: One-sided, 30x60cm p.60: Du-rag, 87x60cm p.62: Half-circle, 30x60cm

The body is inevitable in my collections. It activates the collection, together they become a body of work. The setting is important. Fluid materials make me want to touch, put on, knot, look and change it.

Questions that incited the making process: What is a collection? When does a wearable piece become a body on its own? Who am I making this collection for â&#x20AC;&#x201D; maybe myself?

As an extra layer and a form of representation of the collection of head coverings, I designed two silk head scarfs, 60x60 cm. The first one depicts pink paper shapes that were made when creating the collection and the sentence: 1. To collect means to gather together. The second one shows part of the collection and the sentence: 2. The body acitvates the collection, together they become a body of work. The technique used was digital printing. The challenge was to make the printer think that the surface inserted was paper. In order to do so the silk had to be carefully ironed onto paper with a glue layer. The ink was textile ink, so that the silk scarfs would be washable. The two scarfs merge different layers: they depict physical objects, which were based on 2D shapes, as photographies, becoming head coverings themselves and therefore spatial again. It is the constant transformation of 2D/ 3D, medium, material and appearance that is the key in this series.

Object Nr.4 container

Object Nr.4, container, is a hand woven 60x70 cm big object. I wove it out of unbleached cotton, double layered, with an opening in the center of the upper layer. The form remembers of a pillow case. The double weaving technique allowed me to weave it in one process, which means there are no cuts, seams or other connections. Like a container, a body, it gathers my thoughts. Slow process, next to other intuitive, quick working methods. This object reflects an essential aspect in my work. Itâ&#x20AC;&#x2122;s been a long time that I wanted to weave an object, a body. The idea of creating space within one weaving process, whitout having to cut or connect parts is fascinating to me. The technique I invented is leading me to create other types of objects and garments that can be made out of one single yarn. Big part of this process is experimentation, which provides a fruitful base for a developed product. Iâ&#x20AC;&#x2122;d like to approach clothing as design and art and not as fashion.

I need my body to active the work. The setting is important. On my terrace I sense a perfect balance between privacy and open sky. The clotheslines, the blue sky and the red tiles invite me to perform intuitively. I set up the space, arrange objects and cut, fold, hang forms of paper, textile and plastic.

Conclusion and exhibition

Whether identity is formed from the inside to the outside or the other way around, it is a matter of representation of the surface in-between. These surfaces can be material or immaterial. At this point I see myself challenged to intervene as an artist and designer. My theoretical reflections portrayed in my proposal helped me build a foundation for my practical elaboration. As stated previously, identity is reflected on different kind of surfaces â&#x20AC;&#x201D; Iâ&#x20AC;&#x2122;d like to design, change and appropriate these. My aim is not to design a finished product. I want to create possibilities, scenarios that open up to a wider understanding of what clothing can be. This might be in form of immediate textiles and other wearable pieces: objects which provide a scope for non defined and diverse definitions, appropriations and uses. The action of the use is constituting the surface itself. The focus lays in the unplanned way those forms can be used and its transition to real objects through the user. I want to explore how far I can create an something, that is per definition not saying for what and how it should be used. My main focus lies on what happens in the moment when the human body meets a material surface. The hierarchy between private space and public space dissolves in the construction and application of new developed structures and surfaces.

The exhibition for my BA project is ment to work as a room full of possibilities. It represents my thoughts and experimental approach to creation. Flexibility, potential and immediacy are exhibited through a variety of materials and techniques. From complex hand woven textiles to a simple cut into paper â&#x20AC;&#x201D; this body of work aims to activate the interplay between human body and material forms. The experience of the physical blends with virtual projections of gifs. These quickly changing images are fluid and endless. The exhibition needs no system. I want the immediacy to be present in the space itself: a video projection can be onto a given surface, a textile can be folded and unfolded, the overall image should change throughout the time of the exhibition.

Bibliography (for the entire project) Cover Space, Lecture Series at the Gerrit Rietveld Academy, “Captivating Clothing. Who’s In Charge?”, Janet Andrews Der andere Werkbegriff Franz Erhard Walthers, Entstehung, Wandlung und Wirkung eines aus Handlungen gedachten Werks, Dieter Groll, 2014 Die Paradoxie der Maske: Geschichte einer Form, Dritter Teil: Persona, Richard Weihe, 2004 Dressed to communicate, Was uns die Mode zu sagen hat, Carlo Michael Sommer, 2011 Einführung in die Systemtheorie, 6th ed., Niklas Luhman, 2011 Fashion Talks, Mode ist Kommunikation, Vera Franke und Bitten Stetter, 2011 Issey Miyake, Midori Kitamura, 2016 On the work of Petra Blaisse and the architecture of the

drape, Dirk van den Heuvel, Oase Nr. 47 Originality through Imitation, The Rationality of Fashion, in: Organization Studies, Elena Eposito, 2011 Oxford Dictionary of English Paradoxien der Mode, Elena Eposito, 2004 Private and Publicity, Beatritz Colomina, 1994 The Fashion System, Roland Barthes, 1967 The sociology of the Habit: Bourdieu, David L. Swarts, 2002 The System Theory of Niklas Luhmann and the Constitutionalization of the World Society, pdf, Mattheis, 2012 Wir alle spielen Theater, Die Selbstdarstellung im Alltag, Erwing Goffman, 1983

Websites https://www.uni-muenster.de/FNZ-Online/theorien/modernisierung/unterpunkte/habtheorie.htm https://www.anti-utopias.com http://www.zeit.de/2016/39/make-up-frauen-ungeschminkt-trend-alicia-keys http://www.zeit.de/zeit-magazin/2016/31/schal-paparazzi-cameron-diaz-gesellschaftskritik http://www.zeit.de/zeit-magazin/mode-design/2016-05/ issey-miyake-mode-fs

Image directory p.22,30,31: by Stijn PommĂŠe All other images are made by me.

Declaration of authenticity I declare that this thesis is my original work, gathered and utilized especially to fulfil the purposes and objectives of this study, and has not been previously submitted to any other university for a higher degree. I also declare that the publications cited in this work have been personally consulted. Zoe Philine Pingel, June 2017