SPING 2019
KELLY SUN
IN BETWEEN THE MOMENT A textile narrative aiming to facilitate conversations and create resiliency through designing a ceremonial way to self-reflect and recover.
PROJECT BOOK
MOMENTUM
INTRO Inspired by one of the narratives [What They Took With Them] featured in the Obakki Booklet: A handful of stories, this project focused on engaging the fundamentals of everyday life and bounding individuals in a tremendous postdisaster situation. This project is built upon Emily Carr’s DESIS event where they invited the Obakki Foundation and founder Treana Peake in for an experimental storytelling around her work with Refugees in South Sudan. In the 3 months following the initial DESIS talk, the AHOS team held regular meetings to share the documentation they produced and formulate a concept for further distributing the 5 stories they heard at the event. From there, we are given the opportunity to consider and address key elements being tackled by design today through the capacity of textile.
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TABLE OF CONTENT “The seasons are not four, A week is not seven days, A year is more than it is, and less.” —The Art of Poetry by Adonis
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Inspriation
Tea Ceremony
The Rug
Brainstorming and initial concept
Stating the goals of this project, and the core value of the design
Iteration process of the rug making
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The Cup
Exhibition
Bibliography
Iteration process of thr cup making
The project exhibition and follow-up
Resource refernces and the helps recieve throughout the project
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MOMENTUM
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SPRING 2019
WHAT THEY TOOK WITH THEM BY JENIFER TOKSVIG
“Tea set for the others on the boat. We’re thirsty, tired and afraid. I’ll make some tea, that’s what we do. We make a family.”
The tea culture is deeply embedded in our blood, but it is more than just the tea. Tea ceremony became the concept that we feel most connected to. Tea was originated from China, and been introduced to the world by monks. In the past monks drink it to meditate and cleans their body. With that history in mind, we wanted to introduce the concept as a way of spreading peace, providing a place for gather and communicate.
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A TEA CEREMONY Through the exchange of our voices and thoughts, we hope that would invite and encourage our audiences to join the conversation circle. In between the moment of each syllable, we wove in the journey of our project. By laser cutting each stanza on to a panel of plywood, we are able to tie the invisible feeling into the tangible. Overtime, those words would eventually fade away, after the touches of numerous hands and being read for numerous times and more.
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THE RUG As we breaded them into one long strip, they became the many voices of a story. Slowly, the color faded into white as an invitation for new conversation, and forming a continuous spiral as a representation of the discourse toward the topic of refugee. The only way to eliminate the single story, the stereotype, and all the misconception is through conversation, and it needs to keep going, until everyone has a place on the rug, until everyone has a voice to tell their own story.
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THE CUP
The tea cups are meant to be a vessel for self-reflection. Through the ceremony/presentation, as we read our poem, we were setting the mood for our audiences to embrace themselves in the circle of conversation. By referring back to the text, the rug, and the cups where everyone was holding in their hand, we wanted to bring a moment of self reflection within each person. The action of people just looked inside the cup, be curious of what is inside, or even just played around squeezed the cup in their hands is what we would like people to carry out from this project. The way they interacted with the cup would, and should be how people would interact with the topic of refugee: listen to the story, looking from the aspect inside out, and absorb that moment of truth to they/ourselves and carry on.
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EXHIBITION AT EMILY CARR UNIVERSITY’S FACULTY GALLERY Jan 9, 2020 – Jan 19, 2020 10
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A HANDFUL OF STORIES
Prototype and design artifact based on a research project run in partnership with the Obakki Foundation that explored new roles for design and new forms of critical engagement to address and disrupt the single story of the Refugee Crisis. The concept was proposed to the Bidibidi Refugee Resettlement camp in Uganda by Obakki Foundation founder Treana Peake and was chosen to be fabricated by individuals from the camp. The artifacts were sent back to Vancouver, Canada, and being sold at a local boutique, Walrus. 100% of the net proceeds from the artifacts purchases will go towards supporting livelihood initiatives for the women of Bidi Bidi.
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Publication © 2020 ECUAD All rights reserved. No part of this book may be reproduce, stored in a retrieval system or transmitted in any form or by anymeans without prior written permission of the publisher. Design, Photography, Drafting & Renderings by Kelly Sun & Yujie Tang Typeset in Lato Semi-Bold Nunito Light Special Thanks to Heather Young, Treana Peake, Gillian Russell, Hélène Day Fraser, Craig Badke