Digital Folio | Stella M

The Golem what we dump, nature uses to create

Digital Journal Stella M

[Statement of Intent] In the 21st century, technology is humanity’s life-blood, a part of us and how we communicate; but devices and connectors are transient, used for only a relatively short period before a new product is available and the old is discarded. To show the intertwining of humanity and technology as well as abandonment of huge volumes of e-waste, I will create a gown that personifies the consequences of unsafe e-waste disposal through an emaciated character clad in discarded cables and circuits, come back to ‘haunt’ humanity for our superficiality and disregard.

Bjork’s works have inspired the colouring and techniques (weaving) of this work. The cables will remain their original bright, contrasting colours and will be woven together. Diana Eng inspired this through her works of combined technology and fabric. I will use varying ewaste materials from connectors to keyboards to laptops in combination with and to contrast a flowing chiffon skirt.

[Artists of influence] Bjork

Diana Eng

The works of Diana Eng and Bjork have inspired this piece.

Diana Eng’s work recycles technology to create pieces with a sci-fi theme.

Bjork uses wires and an abundance colour to bring a dramatic contrast to her works.

Source: https://makezine.com/2008/02/29/maker-faire-fashion-tech/

Source: https://www.nytimes.com/2014/09/26/movies/bjrk-biophilia-live-documents-her-tour.html

[Initial Sketches]

[Sketches development]

PLEASE SEE THE ATTACHED TIME-LAPSE VIDEO FOR CONCEPT AND SKETCH DEVELOPMENT.

[Final sketch]

[Development - Materials] Colour – the bright blue of the cables is inspired by the idea that in nature, the brightly coloured animals are dangerous.

Variation – initially the variation in the materials, from a myriad of different types of cables to computer components to fan casings was considered to add contrast and interest to the piece.

However, the textual and material differences between the items started to effect the potential unity and harmony of the piece.

Experimentation with materials - As I tried to attach and mould some of the components into a wearable form, I realised that much of the e-waste (e.g circuits, chips and wires) is extremely fragile. Thus, much of my collected e-waste was unusable for this piece.

It was decided that mainly network cables would be used as they were extremely malleable, structurally strong when woven or plaited together and could become almost like vines encasing the figure – as a physical manifestation of the e-waste taking over.

[Development – Experimentation] Experimentation with the cables was focused around developing a weaving technique for the creation of the skirt and how to interlock the cables so they would hold together and support the weight of the piece.

Extensive experimentation with different weaving, plaiting and knotting of the cables was undertaken to determine which technique and combination would best hold form, drape and have movement in the desired fashion.

Some methods of weaving would not hold together for a sustained period of time without copious amounts of support which decreased the overall aesthetic appeal.

[Development – Formation] The combination of four-strand weaving and threading of single strands horizontally through the weave was determined as the technique for the skirt. Cables were stretched, marked and cut to length before the vertical four-strand weave was completed. Then the single horizontal strands were cut to varying lengths (six strands at 80cm then 20cm incremental increases in length every six strands) and threaded through the loose fourstrand weave.

The weave was designed to highlight the contrast in the piece - both repetition and the uniqueness to each strand. The expectation of technology is that it is organised and structured, but by weaving in this way it gives a messy aesthetic. However, the weave contains repetitive pattern which is similar to plant growth which brings forth the idea that the e-waste is being appropriated by nature.

[Development – Progress] The bodice mirrors a human rib cage. It becomes like an exoskeleton made of network cables. Black and red cables contrast the blue and create the loop that the ribs attach to.

However, like something learning, it is not organised or structured yet. It is messy but still holds the recognisable human form.

The cable skirt is designed to wrap around the figure and encase it. The skirt is heavy, dragging the wearer down – it is an effort to walk and carry it. The skirt is connected to plaited cables which are wrapped around the shoulders and neck. The figure physically bears the load of all the cables. After dumping all the e-waste into the environment – the environment uses that as a vessel of revenge – it grows into something living.

[Final Piece]

[Final Piece]

[Final Piece]

[Final Piece]

[Statement of Resolution] The theme of e-waste is expressed through the creation of a wearable art piece woven from network cables. The piece seeks to communicate the consequences of copious amounts of e-waste through encasing and weighing down the figure in intertwined, vine-like cables. The ribcage structure of the bodice shows the human desire for technology; it feels like part of us. The skirt is comprised of cables woven together in a naturally repetitive yet messy form. The repetition provides rhythm and flow, while the messy, mass of cables contrasts traditional use of cables and technology, in an organised, binary manner. The materials are woven, plaited and knotted together as if they were natural fibres to juxtapose the technology with the natural world.

The objective is to communicate the idea that if we flood our environment with e-waste, nature will use what we have dumped against us and eventually the e-waste will become part of us as it pollutes and intertwines.