Final Portfolio c

through

MATERIALS in

Art and Design

Pakistan Institute of Fashion and Design | M.Phil. Art and Design Education ADE 5100 (3 credits)

Spring 2021 Instructors: Umar Hameed | Jannat Khalid umar.hameed@pifd.edu.pk jkkhalid@gmail.com

research journal by:

M: +92 311 401 77 93 @: SARAH_J2EE@HOTMAIL.COM

COURSE CONTENTS

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3 4 5

6 7

Course Description

Students in this course will explore the properties, structures, materiality and expressive qualities of various materials by extending their personal visual repertoires through critical inquiry and self-reflection with regards to their own prior understandings and assumptions about these materials. The course discussions and activities such as journaling will elicit insights into the role of concrete materials in supporting, integrating and challenging the expansion of ideas to determine and test different possibilities for teaching and learning.

Guiding question/s Who are you as a visual arts and design teacher and/or as an artist/designer? In what ways might we investigate the mundane and apparently insignificant?

What significance do our immediate surroundings hold for us and how might we re-imagine and recontextualize this through a response to its materiality?

What competencies might be engaged in trying to construct something against the laws of inertia?

Outcomes Studio: Surfaces that speak.

Investigate fibers, materials and processes.

Exploration of space and movement, leading to a visual investigation of and through mapping. Tracing and retracing the

Studio: A personal cartography of the space.

Journal: Investigate space, movement and meaning in the given space.

Exploration with papier mache and found materials, leading to an investigation/creation of a personal object. Interweaving the

Studio: Interweavings of the hybrid and the personal.

Investigate contemporary artists/designers’ use of paper, space, found, waste and junk materials.

Studio: Interweavings of the hybrid and the personal.

Studio: Is this a drawing or not?

Journal: Investigate contemporary artists/designers’ drawing practices.

Studio: How do I know how to draw?

known and unknown in our surrounding space.

hybrid aspects of the personal.

Exploration with papier mache and found materials continues What might be the boundaries and possibilities in the Exploration with drawing materials, gestures and space and body definition of an art object as one thing or not? An relationality from multiple points of view to push limits in Interlude with drawing. understanding drawing.

What might we learn from learning to be as another? Exploration of multiple perspectives on human development

through drawing.

In what ways might we consider something intangible as a material and have it occupied material space?

Exploration of and with sound as a material to challenge and re- Studio: Making the immaterial into a material.. contextualize conventions of tangible materiality. Creating a sonic Investigate contemporary artists/designers’, musicians object through instrumentalizing sound/s. and performers’ practices with sound.

Exploration of and with sound as a material continues

8 9

Activity/ies Play with paper, fibers and cloth, leading to an investigation/creation of surfaces.

What are the material capacities of familiar everyday Exploration of and with edible materials to challenge and reforms that we perceive through the senses of taste? contextualize conventions of sensory experience. Creating a

Studio: Making the edible and the smell-able into a

How might our understanding of repetition and pattern extend beyond the predictable to the serendipitous?

Investigation of printing and replication processes leading to transformation of surfaces. An exploration of replication objects.

Studio: Investigation of repetition, surfaces and

In what ways might replication, repetition, pattern transform the surface materiality of a given form and material?

What kind of dialogue might be generated through materials as a language of research?

Investigation of printing and replication processes continues

material with food.

10

11 12

Final Project - Combining what you have discovered and learned from 1-11 above, select a work of art that you do not know but like or find interesting, and investigate it by “responding to it through materials” rather than words. Final Investigatory Project of

“thinking through materials”.

13 14 15

16

Studio: Making the immaterial into a material.

In what ways might my visual art practice become more meaningful in generating understandings for my teaching practice?

material.

replication objects.

Investigate contemporary artists/designers’ practices of printing with simple materials.

Investigate contemporary artists/designers, architects’ use of printing surfaces.

Studio: Thinking through materials. A journey in research and understanding presented as a book or a series of artworks (such as a series of mixed media prints or other images/ objects) that clearly indicates a narrative process in the exploration of an idea through a material response.

Final Project (cont.) Interim discussion II. Final Project (cont.) Interim discussion III. Make a well-organized presentation of final project, journal and course outcomes documentation. Self-assessment/Reflection, Discussion finale on outcomes.

Display of work and Open Studio , End of course celebration

Personal Journal and Project Documentation

WEEK 1 Who are you as a visual arts and design teacher and/or as an artist/designer?

In what ways might we investigate the mundane and apparently insignificant?

Play with paper, fibers and cloth, leading to an investigation/creation of surfaces. Creating/constructing surfaces that speak.

Surfaces that speak. Investigate fibers, materials and processes.

SUBLIMINAL ROUTINE

What significance do our immediate surroundings hold for us and how might we re-imagine and re-contextualize this through a response to its materiality?

Exploration of space and movement, leading to a visual investigation through mapping. Tracing and retracing the known and unknown in our

surrounding space.

A personal cartography of the space, investigating space, movement and meaning in the given space.

initial research and brainstorming Mapping serves as a metaphor for searching, an implication of the unknown in wide, open spaces and a trace of how we see where we have been.

Metaphor Situationism Metaphor Situationism Situationist international Flaneur Flaneur Situationist international Psychogeography Derive Psychogeography Derive DetournementEmotional cartography Detournement Emotional cartography

situationism | theory viewing human personality as a function of response to situations flaneur | someone who observes the city or their surroundings and experiences a physical stroll but is also a way of philosophically thinking and of seeing and feeling

Possible materiality:

• reflective mirror – life sized exploring the concept of trompe l’eoil, creating invisibility/reflection, forcing to viewer to look • printed map of pifd - rearranged to bring invisible places into the courtyard • A cube/monolith made from black paper • What happens when we change the material?

Things that should be in a specific way but are not A ghost that comes to haunt you Paper waste + threads on a fan(strips of fabrics hanging from the fan) = Ghostly appearance Functionality Materiality

] Reinterpreted through strategy

Theory of Interruption | make people stop and

observe, make people ponder, make people question • Printed text on wall- emphasizing the word investigate first impression Why text: because language is a means of image making and text plays an important role in defining the context of education.

• Refining the concept of ghost/haunted places as aliens – Monolith?

How some places become alienated • Concept of a boundary wall.

BOUNDARY = Something which is OFFLIMITS, UNAPPROACHABLE Mark a boundary. It can be a taped boundary KEY: Minimum approach yielding maximum meaning

Location: basement, 3rd block between ceramics and furniture workshop

First recollection: Christo, wrapped woman, 1961

CASE STUDY NO 1

Location: generator room Item: Fan wrapped in newspaper

The project started with a silent walk. First impression/starting point/primary word: investigate written on the column in the corridor and the sound of the boiler going off.

Sarah’s point of interest was the generator setup room in the basement of the furniture department.

Follow-up questions: • • • •

How do people respond to boundaries and how do they react to it?

People’s discomfort with boundaries: roles and restrictions How your body language changes in certain spaces Why do people not follow certain boundaries

The area was alien, and it was alien regarding how we perceive PIFD being a fashion school. We have been through the entire school, yet this part was somehow always invisible and uninhibited. It had almost a ghostly appearance. The radioactive text, textures on the wall, wrapped fan and an impression of a fading swoosh on the wall, all contributing to the ominous setting. This led us to explore the concept of generator in a distinct setting.

projected ideas

• exploring boundaries through do not touch signage • developing a study on the role of color in signage and its use in a specific setting. For example, cities, roads, museums, galleries, schools and hospitals

PERSONAL NOTES:

Life experience and being open to the NEW is the first part of any project. Develop an awareness of things around you whether they are objects, places, people , sounds, smells, tastes, etcetera, that are not obvious in the moment, with the purpose to educate yourself to see more into the unobvious as a starting point for research questions.

Idea Exploration - Skewing Perspective

• How does new experience affect relationship with self?

A souvenir is a something that one keeps to remind oneself of an experience.

Often, they can take the form of objects, pictures, tangible items that one can refer to at any given time.

•

But what about the Subliminal Souvenirs: the ones that we don’t even realize we are collecting until hours, days, months or even years later?

•

What if these souvenirs are the ones, we acknowledge first?

•

How can we collect souvenirs that are not the typical?

•

How can we use these souvenirs in our creative process?

projected artwork/installation

Pillar covered in black paper with a window cut around the word ‘INVESTIGATE’

Main Corridor

Purpose: • to create a focus • to break the monotony of the cemented grey building • to instigate curiosity and a connection between the extended installation

It is a black cube in its unornamented form. Do we expect something on top of it? Is the first expression incomplete?

Is our brain trained in a way that we expect something when we see an ordinary/ blank object?

Does it comment on the limitations and boundaries of the human mind?

The ramp at the entrance of the school

Photographed from the second floor

Is it an error? Or is it a hindrance?

Is it curated, or is it a mistake?

Is it complete?

Is it creating a disturbance?

Do we feel this disruption in space because we have routines and pathways that we take every day, orienting our mind to overlook the intricacies and subtleties in our surroundings?

What happens when our path intersects a boundary, a boundary that exists but is often overstepped.

The work challenges our prior understandings and assumptions about certain spaces and the way space changes meaning for people at different times and different junctions. Relating it to a monolith-inspired structure placed on a ramp, which challenges authority, this project aims at seeing how people respond and react to boundaries. The sound of the generator and the dripping water are also projected to create a contradiction between two spaces.

personal photo archive CASE STUDY NO 3 - Crossing certain boundaries in a gallery space

Name: Muhammad Umer Mr. Designation: Co-Ordinator/Teacher

Pompidou Center, Paris, July 2018

Musée National Picasso, Paris, July 2018

Gardener and a lab technician, filmed from the 2nd floor

Pompidou Center, Paris, July 2018

Response (transcribed): It reminds me of our holy space, the Ka’aba which is also black but with two objects I have to relate it with something else, you know, so you relate it with each other. Interesting part is which you should also consider is the placement of arrangement. There is a certain lets say effort to go towards the ramp.

So that effort somehow hurdles your mind to think about the fragility of the work itself. So basically you yourself are experiencing a certain force which alters your thinking process that what do you mean by fragile and does it belong to your own physical effort or does the object itself has a meaning around fragility. So that’s the question which arose in my mind when I was going up and even coming down which is a forceful activity for the body so when you are working your body around the object, it becomes something else for me. Totally moves from one phase to other phase. That’s what I feel. I think the placement is interesting. I am not sure about the objects themselves, they need more, I don’t know, objects need to have certain kind of dialogue in making process too, so that I think you should figure out. They are placed in a certain way so the object themselves, so you know the cube themselves are constrained and restricted like for me they are very static objects. They have a very solid foundation. For me they are static in a way because the way is like going up as we view it.

Name: Faiza Khalid Ms. Designation: Faculty member

Name: Muhammad Asim Naeem Mr. Designation: Faculty Member Response: Why French? Is it because of our affiliation with the French institute?

It clearly says do not touch, I am not sure if should go up close.

Identifying a public space in lockdown do people react with boundaries?

French? do you intend to ‘situate’ the work? Why the ramp? ’s the intention? Does it evoke curiosity? will you document the response? Will it be time specific? is my target audience in an educational setting? students/teachers/admin?

Response: My question is why? Why you put it up on the entrance?

And why you wrote in French? I couldn’t understand. Why did you write fragile items, do not touch? I am tempted to sit on it. Can I sit on it?

Week 3 | Prompt “CONTRADICTION IS MARKED BY OUR EXISTENCE, WHY FEAR” THINKING THROUGH MATERIALS medium of exploration: PAPIER-MÂCHÉ

What competencies might be engaged in trying to construct something against the laws of inertia?

Exploration with papier mâché and found materials, leading to an investigation/creation of a personal object.

Interweaving the hybrid aspects of the personal.

Investigate use of paper, space, found, waste and junk materials.

GENERAL CLASS DISCUSSION

RAW MATERIAL .1 – natural resources

+ Discarded toilet tissue Accumulated over the period of five days

= Neem leaves (used for its Anti-bacterial properties)

RAW MATERIAL .2 – Found Material/Object

Boundaries/Contradictions explored using metal wire against the soft pulp of discarded tissue papers

the original order

Stage 1

Stage 2

Stage 3

ARTIST STATEMENT The process starts with a reflection on the parameters that define a form and the study of hybrid. The installation explores the laws of inertia through six stages of ageing. The soft pulp of tissue fights against different sizes of the metal mesh. The contradiction between materiality defines the discourse of this experiment.

The hybrid aspect is approached through the application of force on the form of the material used.

Stage 4

Stage 5

Stage 6

Stage 1: titled Birth of the Universe, comments on the behavior of paper as a form Stage 2: embeds the metal mesh in its structure, giving Foundation to the papier mâché Stage 3: explores the nature of the papier mâché when sieved through a fine metal mesh Stage 4: defines rebellion and disruption through the play of material Stage 5: exhibits contradiction in the perfect symmetry of the grid and the title that refers to a crisis Stage 6: identifies the outgrowth of material on the found object serving as a metaphor for ageing

LAWS OF INERTIA EXPLORED THROUGH THE SIX STAGES OF AGEING comments on boundaries and the social construct of age

Materiality: Used toilet tissue Neem leaves Salt Boiling water German glue Flour Boxed grid wire Medium for drying: Gas heater Fan (exposure to heat & wind)

Stage 1: Birth of The Universe blank canvas/ starting point/expressionless/ empty/uninhibited by time/space of endless possibilities/

Stage 2: Foundation structure/

Stage 3: Adolescence dependent/shadowed/

PAPER AS A FORM

SOMETHING THAT OUTGROWS a metaphor for ageing

Stage 4: Rebellion / Disruption Freedom from the pain of perspective/

Stage 5: The Mid-Life Crisis wholesome/boxed/

Interweaving of the Hybrid and the Personal

Stage 6: Wisdom

WEEK 4

medium of exploration: PAPIER-MÂCHÉ Prompt What competencies might be engaged in trying to construct something against the laws of inertia?

Exploration with papier mâché and found materials, leading to an investigation/creation of a personal object. Interweaving the hybrid aspects of the personal.

Investigate contemporary artists/designers’ use of found and waste materials.

material brainstorming

found/waste materials List developed from personal photographs and experiences that unfolded during experimentation

Category: Man-made Personal Photo Archives from 2016 to 2018 Keywords (inspired by Instagram posts): Candies, Wild ones, Natural Order, Babies. Blush, Blume, One Hundred Flowers, Georgia O Keeffe, Instant Love, Hydrangeas, Bloom to Doom, Florals for Spring, Pink Flush, Flowers are a Girls Best Friend, Italianesque, Color Riot, My Summer Palette, Lavender Love

• • • • • •

Mirror Sutar (Cotton thread) Cotton lace Pencil shavings Colored lead shaving Paper

Category: Nature • • • • • • •

Flowers Leaves Wood stems Eggshells Hair Strawberries Cotton

PHASE 1 -

• • • • •

Toilet paper Neem leaves Gatta Flour German glue

• Aged 7 days

materiality | process

First Impression: Inspired by Kubrick’s 2001: A Space Odyssey this form made from the papier mâché identifies with the idea of history, archaeology and time. Skeletons record age in several ways and bones have been used historically to determine its number. At microscopic level, remodeling of bone takes place throughout life which leaves clues about the person, his origin and roots.

Talking about accidents, it looks like a bone but its not a bone. It has an interesting story which we will get back to in the succeeding slides. Not as originally planed, it was supposed to be a corner of a box but then it took the shape of the bone. It is translated into the perfect form that bridges the work developed in Class 3 with current form exploration.

form exploration - – laws of ageing continued The purpose of exploring this idea was: 1.

2.

3.

4.

5.

6.

To recreate the wire grid in a different material, which in this case is thread To observe if changing the material changes the response of the papier mâché To understand how form does not necessarily has to be perfectly aligned To challenge and extend the experimentation done in Class 3 To develop a contrast between fragility and the application of papier mâché bounding the thread to perform in restricted manner The way it is held together also further explores the possibilities in shape and perspective

Draped I

Draped II

Draped III

Draped IV

Draped VI

Draped V

Draped VII

Draped IX

Draped X

Here I tried to play with how I want to present this work and maybe that changes the meaning too. Like in first assignment we talked about why I chose to present my work on the wall using tape and what happens when we place the same artwork on let's say a chair, which in itself challenges authority and represents a lot of diversified meanings and even influences how we view a product. This changes the way people look at things and the meanings they derive from it and that’s important, how you present your work and the context you develop and how you let the viewer form his own narrative.

Draped VIII

Draped XI

Draped XII

the cloud of hope and freedom

fragments I have used mirror here. Initially I wanted use a 2mm reflective mirror but given the restraint of time I settled with the 5mm thick mirror. It was hard to break it but still the material play here turned out to be very interesting. Hammering the mirror resulted in the material to break which created these tiny crystal dust finding home on the papier mâché. Breaking the mirror also refers to stopping of the time, creating a silence which also becomes the loudest word spoken.

I stumbled upon this material on my way to get balloons. The threads created a tangled web of past and present. Somehow it reflected on how different timelines co-existed in a single space. As if the time had stopped and that moment was eternal till it was disrupted.

grotesque – does it discomfort you?

Extending the idea of using thread with the material, I experimented with the texture of hair.

Where thread represents the fiber of life, hair contribute towards the development of the human form. Its as prized as any other human element of construction and poetically sums up the idea of age.

I am obsessed with flowers, so I thought, why not play with it. Continuing the idea of form exploration in Class 3, I designed this cage.

Exploring several connotations, the cage symbolizes the end to the frivolous life. The initial idea was to explore forms of paper mâché on the cage to symbolize closure, to life and its indulgences.

I created this paper mâché texture by adding dried rose petals to fresh rose petals.

Creating my first sample of an olfactory experience, it comments on the play of material and how it adds to the properties of the used material.

Interestingly when you look at the rose, its somewhat a common material used for celebration but at the same time its also used on death.

We find this contradiction in material too which sums up the entirety of birth and death.

a rose is a rose is a rose

The hollow cage was then filled with flowers, in its own way it summed up the restrictions and limitations that one experiences with age.

Sometimes we cage our freedom, what if better things lie on the other side?

the perfect balance Extending the idea of cage, this time by developing a form of the cube, I wanted to see how the mix of paper mâché’ would respond to the material and form of the cube.

I poured the mix on the cube to document how the paper responds to paper mâché when the medium is changed. This time the consistency was more liquid. This collective reaction to the material of paper mâché when dried highlights the dents on the box giving it a very organic and raw feel.

the invisible master

Inspired by the work of Yves Klein, the materiality merged two very contrasting materials, cotton and paper mâché.

This is the bone structure that we viewed earlier in the first impression. This was supposed to be an incomplete cube reinterpreting the age of wisdom. It didn’t turn out the way I wanted it because I ran out of paper mâché’ and this was also the last piece that I created. Interestingly the form marks the start as well as the end of the process

PHASE 2 -

materiality | process

• • • • • •

News paper Neem leaves Gatta Flour German glue Egg used as a binder

• Aged 13 days

Exploring basic shape with a change in materiality.

Eggshell on paper mâché.

For one, the egg symbolizes birth and to develop a contextual study on the behavior of shell with the paper mâché blend. The idea was to edit and choose the material which exists in our immediate surrounding but is often over-looked or undermined.

Material play with nature and pure forms and the resistance between two forms sharing the same source. Developing case: Twigs. Paper degenerated to its origin

material play : crochet on newspaper mache’

PHASE 3 -

materiality | process • • • • • •

Crepe paper 2 toned green colored paper Mint Broccoli leaves Flour German glue

• Aged 10 days

I wanted to create samples using colored paper. My 3-year-old niece assisted me in the process. She pointed out how bad the mix smelled. In case referred I then added broccoli and mint leaves to subdue the smell of stagnant water and the color of the paper which bled over the stretch of 10 days (about 1 and a half weeks). Adding natural material changed the entirety of the material and it became extension of the revisiting certain memories. My niece requested me to give her crushed mint in water which has been her summer staple. It commented on how certain smells remind you of certain experiences.

Mint, Broccoli and Chrysanthemum in paper

second skin While playing with the material the mix of glue and paper mâché got stuck onto my hands. Interestingly thinking that the glue might clog the drain I thought of removing the skin before I wash my hands. The lines on this material belong to me. They sum up my identity as I shed my skin to make way for the beautiful.

Probably my favorite play with material because it was unexpected and not designed or thought of. This is not how I expected paper mâché to respond to inertia.

PHASE 4 -

materiality | process • • • • • • • •

Colored paper Neem leaves Strawberry Bougainvillea Chrysanthemum Flour German glue Pencil Shavings

• Aged 7 days

The idea of how materials transport you in time was then explored in detail with strawberries, chrysanthemums and flowers from the bougainvillea tree, reminiscent of the summer of love, youth and joy.

PHASE 5 -

materiality | process

• • • • • • •

Crepe paper Colored paper Neem leaves Flour Chamomile flower Mustard flower German glue

• Aged 7 days Mustard flowers and Chamomile in paper

PHASE 6 -

materiality | process

• • • • • • • •

Toilet paper Neem leaves Gatta Flour Lead shaving Pencil shaving Chrysanthemum German glue

• Aged 7 days

WEEK 5

AN INTERLUDE WITH DRAWING Exploration with drawing materials, gestures and space and body relationality from multiple points of view to push limits in understanding drawing.

material palette

continuing the expression

a.

b.

c.

Started adding details and textures that I felt resonated with humans. This time maybe the details were thought of, with the intention of filling the space which as per requirement had to be 80 percent filled.

d.

the artwork Keywords: Primitive, Africa, Maps, Squiggles, Splatter, Graffiti

phase ii

Week 5(b) | exploration with drawing materials What might be the boundaries and possibilities in the definition of an art object as one thing or not?

Studio: Is this a drawing or not?

DEFINING PARAMETERS: Tear the drawing that you made in the first half on the class in a minimum of five pieces. You can rip it or cut it, but you must use whole of the drawing sheet. You can use any binding tool other than the conventional glue/tape. You may use stapler, common pins, needle and thread, anything that can be used as for connecting the torn paper.

The paper you have is a 2-D surface. You must create a 3-D form out of it, and you may do so by changing its orientation.

How will you keep the essence of the drawing in now a 3-D form. Free standing will be an added plus. You must stick the five pieces together. You can't use any conventional material. Think about possibilities. Maybe the joinery can be such that you don’t require conventional tools. Maybe its folded. The creativity part is up to you. The construction should capture the essence of the painting.

Orientation can also define the form of the drawing. For example, if you have drawn an apple, you can cut it up to several parts and recreate another form of an apple.

Drawing on Drawing. The act of Drawing. Get over the shock of ripping your masterpiece. Think about every decision that you take. Why are you doing this. Using the semiotics, if you are trying to bend the paper in a certain way, think about the paper quality, think about the fold you are trying to make and what meaning will it generate.

artist statement Visual impression of something : you have seen something like this somewhere before. What does it look like to you?

What does this remind you of?

It reminds me of Africa. It looks like a map to me.

Threads represent connection to humanity. The thread represents the human connection, and these are its continents. These are different fragments of a human being.

Strategy

It represents the missing link: the map Thread is a fiber: it’s a fiber of life. It connects humans It connects civilizations It connects two different mediums It’s a connecting tool I was also inspired by Margaret NEIL. The lightness of her work spoke to me.

class 6 case study THINKING THROUGH DRAWING : PRACTICE INTO KNOWLEDGE Proceedings of an interdisciplinary symposium on drawing, cognition and education

Edited by Andrea Kantrowitz, Angela Brew and Michelle Fava Teachers College, Columbia University, New York

Symposium: 28-29 October 2011

A way of casting our thoughts into the visual domain Drawing with both hands: dual reflection, an impression from both the hemispheres of the brain

The first instinct

Wrist motion - The pressure fades with each twist but the course of movement is not designed.

Attempted this while listening to a maddening house mix.

Phase 1: Attempted under 90 minutes

COGNITION The states and processes involved in knowing. Perception and judgment.

Conscious and unconscious processes.

How knowledge is accumulated – perceived - recognized – conceived - and reasoned.

Cognitive psychology and neuroscience shed light on how, why, and what we know.

Recent neuroscientific research, by Antonio Damasio at UCSD and others, demonstrates the close relationship between feeling and thought, and has shown us how our emotions have evolved to guide us, so that we can “feel our way” through the world.

Pencil on paper mounted on panel, 20011

I make drawings to forge a path to new territories of my perception. Using pencil on paper or directly on the wall, I explore a singular concept—a reaffirmation of place: a lived emotional and physical experience in sensation and memory. | Margaret Neill

“It reminded me of Africa, of wildlife, primitive artwork, indigenous tribes. It storied history, of people, cultures, past and present, mountains and maps, the landscape of the world all jelled in one”

/raise question /never stop doing it /keep questioning your own practice /keep questioning why you are doing things a certain way /is there another way of doing it /I enjoyed the reading /it opened my mind /and my conventional understanding about the subject /I am always questioning the aesthetic part of drawing /maybe because it stems from personal /maybe I am not good at it /maybe that’s my concern /what’s the role of aesthetics in drawing /and not in drawing but even in garment and dress / I understand that it adds to the commercial aspect of selling /or how a dress is to be viewed /or experienced /but for me design and some of its practices have become so redundant /the system needs to be disrupted /this can only happen when we start questioning the conventional processes /which is why I question the ideas surrounding aesthetics /for people to observe /and to comment on I can trace the process in my work but is it inspiring /or relevant /am I playing safe /why do I do things in a specific way /is it a good thing /how can I stretch my boundaries /what kind of art inspires me /can you list and decode a pattern /what type of art intimidates me /yves klein and the human paintbrush /body as a canvas /does it discomfort me /

/the grotesque body /i talk about rejecting aesthesis while evaluating an artwork but still am appalled by the idea of a grotesque form or body in the fashion sense /why is it that i contradict myself / where does it stem from /ideas of personal /oversized bodies /who standardized the body /what is oversizing /what is a normal body /who defines this distinction /why is this distinction important /is my contradiction result of my conditioning /ideals of beauty /

/process-based research /point of view /scale /perspective /

CLASS 8 (GROUP II)

In what ways might we consider something intangible as a material and have it occupy material space?

Exploration of and with sound as a material to challenge and re-contextualize conventions of tangible materiality. Creating a sonic object through instrumentalizing sound/s.

Making the immaterial into a material

Process | General Guidelines | Personal Notes Step 1: Collecting Sound and documenting medium of creation Step 2: Identifying the sounds used in the final piece • Total number of sounds used • Naming the sounds • Techniques used Step 3: Building a narrative • Identifying a genre • Creating the story line (4/5 lines) • Defining keywords Step 4: Readjustments • Refining the sound piece in reference to the genre and keyword Step 5: Illustrating sound • Identifying medium of expression (paint, sculpture, performance) • Take screenshots of everything. Deconstruct the digital image • A short write up of 100 words (4-5 lines) defining the visual Step 6: Redoing the visual

The Foley Sound Collection of sounds | Medium / Created through

1. Wind hustling | Toilet tissue roll in front of air conditioner clapping cushions together dragging table 2. Dripping of water | water dropped through a syringe on to an aluminum pipe dropping water on cardboard 3. Birds chirping | sparrows and pigeons in the quiet of the morning 4. Trees fluttering | crunching spinach with hands 5. Rain on metal | clinking on main gate handle interrupting the flow of water from the dispenser with wiggling fingers 6. A barking dog | stripping yellow tape 7. Stomping of feet | clapping on inner thighs 8. Loading unloading gun | jiggling keys metal rod on wrought iron railing 9. Band of brothers | opening and closing of doors 10. Gunshots | clamping stapler 11. Sharp blade | fork on wood 12. Ploughing | running a metal fork through a plastic brush 13. Water running down the stream | paddling hands in the sink with water 14. Train engine | bunch of keys shaking 15. Heavy Strom | scratching of plastic bag 16. The breeze | rotating of ceiling fan is Tearing of paper is licking voice 17. Tearing paper | licking 18. Murderous Gunfire | taking burst photos on phone 19. Pouring water in a ceramic bowl 20. Ceiling fan on slow motion 21. Walking on dried leaves | Crumpling dried onion skin 22. Fire | Crumbling cellophane paper 23. Ripping bandage | pulling masking tape off from glass 24. Blade | Sharpening knife 25. Hammering | knocking on an aged metal door

Adobe Premiere

Building a Narrative The sound creates a sharp, deafening silence as it moves with time.

The door cracks open/ a gush of wind enters the house/ stomping of feet/ someone silently takes the stairs/ holding a metal rod/ rattling through the wrought iron railing/ a girl in the shower/ something breaks/probably a glass/ silence / scrapping against wood/ the sound of fear/ silence / slow chirping of birds /morning/chirping intensifies /the climax / the barking of the dog / butchering / keys jiggling / the protagonist leaves

Genre

Readjustments after first feedback Revising keywords and amplifying the details of the genre Identify the sound vocabulary Sounds that make you peaceful Sounds that make you anxious What's your purpose Direction is important Explore and reach to a point Think of a theme Overlap, blend

Murder, Thriller, Slow burn

Keywords Clamorous, Haphazard, Spontaneous, Attention, Heavy, Silence, Darkness, Scrapping, Fear

The sound piece created a mysterious thriller genre as the effect was loud, had depth. We readjusted it by overlapping different sounds together, then blending them, as one ends the other starts, fading the ends of each sound and merging it with the next, increasing pitch of some sounds and collaging the sound by low pitch sounds to mix and match them and create a balance.

Sound as material | Material has no limits | Its boundless | We went with the natural flow of sounds that we experience daily but we recreated them through artificial means and by disrupting the rhythm

The visual is created through blind drawing made while listening to the sound note on repeat.

The colors were chosen randomly. The drawing was later smudged through the movement of the hand on the artwork, approached blindly.

Keywords: confusion, disturbance, displacement

revised artwork

the shadow play

FINAL ARTWORK & SOUND PIECE

design equation

Artwork-I

Artwork-II

Keywords: Clamorous, Haphazard, Spontaneous, Heavy, Scrapping, Fear, Disturbance, Distortion Hybrid form

Understanding Sound: Sound as Material by John Collins McCormick https://scholarworks.iupui.edu/bitstream/handle/1805/6050/Thesis-JohnMcCormick.pdf?sequence=1&isAllowed=y#:~:text=Sound%20as%20m aterial%20posits%20an,audition%2C%20the%20power%20of%20hearing.

Foley Sounds At Home: How to Make Sound Effects Channel: B&H Photo Video https://www.youtube.com/watch?v=kKa9yDJhW8M Introduction to Foley and Sound Effects for Film Channel: Filmaker IQ https://www.youtube.com/watch?v=_Jznye0iqYE The Magic of Making Sound Channel: Great Big Story https://www.youtube.com/watch?v=UO3N_PRIgX0 How Animal Sounds Are Made For Movies And TV | Movies Insider Channel: Insider https://www.youtube.com/watch?v=l2WCrXc7J-I "The Hunger Games" & "Frozen" Foley Artists Turn the Sound of Junk into Miracles | Art of Sound Ep.3 Channel: Variety https://www.youtube.com/watch?v=EB6Wjty-MNk

Personal Notes: The Sound of Silence : accumulation of sounds that are created as a result of our daily interaction but often go unnoticed. They only come to life in the darkness of the light.

• How do we filter sounds, sounds which make us conscious, sounds which alarm us, sounds which bring us peace • Do we react or do we respond to sound?

• Sound has the potential to calm us, sound therapies, how do sounds affect us • How do sound frequencies respond to the energy of soul?

• Why do we associate sound to a moving object?

• Can sound be visualized beyond its apparent vagaries?

TEACHERS FEEDBACK: Embody the experience How do materials respond to the semiotics of sound Daily routine/personality A personal object, a pen, chair anything and you maybe deface it Normally what happens is when you use an object daily it develops a patina, wear marks maybe exaggerate it so that it gives this impression of sound Ask yourself: What to repeat What to eliminate What were your considerations What’s your raw material Final image needs help: Brainstorm/Discussion/Dialogue Distorting everyday objects: Toothbrush, Hairbrush: In slow burn These innocent looking things in a murderous effect

Class 9a Material Play with Vegetable | Stamping and Print Making Exploration of and with edible and olfactory materials to challenge and recontextualize conventions of sensory experience. Creating a material with food and fragrance.

Making the edible and the smell-able into a material.

PERSONAL NOTES:

additional experimentation: material play

Color vegetable paper - experiment like a child Thinner Transition of black - illusion - shadow – blur - impression Mix - merge Make another paper of black grey white Molding yourself to the environment Experiment with print – experiments can also go wrong

Exhibit A

Cross-section of Jalapeno, Cauliflower, Bitter Gourd, Mint leaves, Garlic cloves, Lady finger

Exhibit B

Cross-section of Bell pepper, Diagonally cut lady finger, cross section of lady finger, Cucumber, tomato

Exhibit C

Cross-section of the cauliflower, green chili, bitter gourd, mint, spinach leaf

FINAL IMPRESSION MATERIALS: acrylic, Indian ink and charcoal powder

POINT OF INTEREST: document the response of the paint material on the vegetables and see how the two of them respond to each other

I explored the techniques of stamping and direct printing with vegetables with varying character, some with more water content and some which have a more solid character I also tried to apply paint once, through brush, hand, and cotton balls and see how the vegetable would respond to the material exploration on paper creating that fade away effect Newsprint is an interesting medium which I felt has an affinity for water because of the absorbency factor

Class 9b Investigation of printing and replication processes leading to transformation of surfaces. An exploration of replication objects.

Lino Printing

GUIDELINES •Pick an artist, he should not be a print maker and choose one of his work •We will respond to that one artwork and transfer it onto the sheet •As much in detail as you like •A4 sheet lino or maybe half not much detail •Takes a lot of time to carve •We will not copy •Generate a dialogue and respond to an artist •How to generate a dialogue: identify the elements of the chosen artwork, rework/strategize how you can exploit the language of the artwork. You can respond to the dialogue or contribute to it. Reason.

artist:

RAUSCHENBERG • Self-portrait, Ink thumbprint with initials for The New Yorker magazine, 1964 • Artwork illustrates the use of an indexical mark and reference to his name • Rauschenberg’s Self-Portrait and convicted association of the thumbprint connotes someone who breaks the rules

Right: Self-Portrait [for The New Yorker Profile], 1964 Ink and graphite on paper 11 7/8 × 8 7/8 in 30.2 × 22.5 cm Left: Autobiography, 1968 Triptych of three offset lithographs 66 1/8 × 48 5/8 in 168 × 123.5 cm

April 25, 2021 2037 hrs

PERSONAL NOTES I believe I have unlearnt to such an extent where I know nothing. I believe I will go mad with this constant questioning that goes around in my head.

What is the authenticity of an idea?

How can we create something which is purely ours How can we leave our trace in the history of the world All of what we are and all of what we have is borrowed Borrowed narratives With millions of artists stretched across the globe and past the time how will I find my voice Something which is purely mine

ASSOCIATION WITH THE FINGERPRINT: Identity Signature Individuality Criminal association Submission Origin Impression Personal image Missing /The artist is missing Incomplete An image of a person This impression leads to you to a person Sum of the collective of what an individual is Presence and absence Life and Death Everything is line Lines are Direction From the first heartbeat to the last Life can be summed up in a line

FIRST RESPONSE

TO ALL OF YOU, IN WHATEVER CAPACITY YOU MAY KNOW ME WHAT ARE THE

WORDS

3 WORDS AND

3 OBJECT / THINGS THAT YOU ASSOCIATE WITH ME

*REGARDLESS OF HOW YOU MAY KNOW ME

Independent Passionate xx Reliable Diligent Observant Creative xx Childlike Choosy Predictable Disconcertment Free bird Bold Confused Determined Sophisticated Bitchy Firm Polite xx Different

OBJECTS / THINGS Sensitive Caring Sarcastic Possessive Laid back Elegance Knowledgeable Teacher Suave Intimidating Empathetic Enthusiastic Power Fear Intelligent Modest Meticulous Reliable Street

Hard cover books xx Heartwarming notes Dead Poets Society Cactus Hammer Tulip/Flowers xxx Red Chilli Concrete Wall Balloon Italian food Pictures Handwriting Dark Horse Houndstooth print Black ray bans Comfy chair Red marker Colorful ink spread out on a jammed inkjet printer paper

Dior Nail Paint Red Design xx Blue color Aesthetics Bag Laptop Blush-on Perfume xxx Rock Hourglass Queen Sans Serif Highlighters xx Candles Snake Chloe Perfume Tester Black Suit Cool Cat

SOCIAL EXPERIMENT

CURATING PERSONAL IDENTITY From the response gathered from a public survey

LINO SHEET TRACING AND CUTTING Clean properly with rags after every use Take prints of the process Carve away from you not towards you Do not put your hand against the blade

FINAL STAMPS – Work in progress

SAMPLE PRINT

MAKING OF THE LINO SHEET CONTIUES

Class 10a

FIRST IMPRESSION: Leather like texture Hairy/Grainy Grip level: Sturdy Tip: Do not dig too deep Gentle Pressure Let the hand glide/nice and easy

Investigation of printing and replication processes leading to transformation of surfaces. An exploration of replication objects.

Making the edible and the smell-able into a material.

MATERIAL REQUIREMENT: MEDIUM REQUIREMENT: Fabric swatches Magazine paper Book cover Ceramic Metal, Junk

Lino sheet A4 size Lino Carving tool Kit Oil Paints / Printing inks work best Acrylic/Gauche second option Ink Roller Tray/Glass slab/Wood plank for the paint bath Carbon Paper

PRINT EXPLORATION | PHASE 1 A STUDY OF BEHAVIOR

Acrylic on Black Chart Paper

Experimental Stamping: Acrylic on Printed Magazine Paper

The Lipstick Revolution is an aspiration taken to fill the missing link in our space through creation of a new dimension of art and practice. The theme resonates with the forces of nature to form a culture of efforts, geared towards improvising and improving within us, to across the world. It is completely an independent thought and bears no mark of any political affiliation, religious preferences or social genders. The voices it invokes are global and purely human.

Acrylic on Leaves | Leaving identity marks in Public Places Location: Main Boulevard

Class 10b

First feedback:

See which vocabulary would you use See what sort of material would you use

a response to identity

GUERRILLA ACTIVISM ARTISTIC INFLUENCE Jean-Michel Basquiat Keith Haring Michelangelo Pistoletto

PERSONAL COMMENTS

Gender roles Stop and wonder Public discourse Snake in religious symbology /cube /stamping around the cube / circle /public space What dialogue does it generate What dialogue are you trying to generate A memoir Personal identity Residue / remains

MATERIALITY

Wooden bark X-ray Negatives Newspaper collage Dalda ad ‘jahan maamta wahan dalda’ on inkjet Lunch box – kitchen – women - gender roles Legal paper /official document /challenging the status quo /questioning authority /a dialogue between official and the unofficial / informalities Garbage bag Jacket – identity of a garment – elements of masculinity – why are they borrowed from womenswear

Keyword: Transgressing boundaries, Vandalism, Defiling Public Property (for a cause)

MEDIUM OF COLOR Gauche Acrylic Oil

PLACES

Outside library /3rd floor /oxidized wall Under my table in office Tree Stairway Main road Transformer pole Neighborhood wall Public Square / road / car/ Role of posture, position and set up in defining the course of the artwork

PHASE I - MATERIAL PLAY Gauche on Menswear trouser pattern

Acrylic on Found Material – Xray Placement: Centered This x-ray belongs to the father of a close friend who lost him earlier this year. He had been very close to me, calling me husband to his daughter. He would often tell me that there is nothing I can not accomplish. A true feminist, this expression is an ode to him, his legacy, trust and love.

Bifurcated Garment /Associated with men and how women adapted it in the late 1890s Trouser and its association with the liberated woman Trouser as a metaphor for freedom Trouser defying the gender construct

“Change, as we see it, is a selfaspiring process; therefore, it is our choice to follow the theme of change or inspire its course to make a difference. I choose the latter, for I prize the value of being human.”

In the mala fide documents of reality | Written for The Fourth Axis, dated November 2009

The Lipstick Revolution is merely a symbol; symbols are given power by the people. A symbol, in and of itself is powerless, but with enough people behind it, making a new symbol can change the world.

Oil paint on Pattern sheet Location: PIFD, next to the attendance machine

Acrylic on a cemented pillar Location: Somewhere in Model Town

Acrylic on Metal Location: Picture wall, Somewhere in Johar Town

Didn’t go as expected due to uneven surface/change in materiality/grainy texture, but the thrill of doing it in the middle of the night when the entire world is asleep resurfaced so many conflicting emotions Suddenly, something which at this point had turned into a personal comment became meaningful

Ghostly Appearances | Acrylic on Glass Location: Service Lane / Main Road Disrupting Public Places The printing didn’t go as planed due to the uneven texture of the concrete and that’s part of the process. Sometimes we have no control over the surface

Acrylic and Gauche on mirror Size: 24’” x 24” Location: In the middle of nowhere Mirror as a reflective surface / camouflaged / placed in the middle of the road / the image multiplies / it reflects the stamping on to its surrounding/ All points dissolve into one /what dialogue will it generate Layered Identity / what is the real identity / why hide the real identity

PHASE II | EXPERIMENTATION WITH STAMPING Agenda: Analyze the behavior of the lino stamp

Acrylic and Gauche on Plastic Garbage Bag Technique: Color Blend / Print overlap

Acrylic on Plywood

The process is how you lead it but sometimes it’s the process that leads you. When both come together, they narrate the importance of the concept without losing identity of material and surface.

Acrylic on Pattern Sheet Technique: Overlapping 2 Stamps, repetition Location: 3rd floor, Library Exit Point 2, PIFD

Acrylic on newspaper

Acrylic and oil on Stamp Paper Commentary on gender/roles Official document versus unofficial document / informalities /

FEEDBACK: This is going in so many interesting directions. You should realize yourself, for example this official stamp paper, what meaning does it generate, what meaning does stamping on the leaves generate or mirror for that instance.

Research paper recommendation: identity / revolution What sort of a revolution are you talking about?

If it’s a revolution, how would you approach it?

Revolutions/mission statement they all start with a manifesto. So, look up 10 very influential design manifestos and see if you want to take this further as a research project, how would you go about it.

PERSONAL OBSERVATIONS: What started as an inquiry in self has undergone such a drastic transition. Is it the natural order of things or am I shuttling around too much? I love how this idea has transitioned, evolved and matured within this limited time and I think what interests me is how I am not trying to control the narrative.

Week 9a started with the basics of printing techniques explored through the play with vegetables. I felt so uninspired by my artwork because I found numerous expressions of joy, fulfilment, fun in the work of other people but my canvas was black, dead. Was I being fearful? Was I being controlling? Why do I gravitate towards a certain outlook? It made me question who I am, as an artist, or maybe as a designer. What’s my expression? Do I want to disrupt my understanding of how things are to be? This led me to find an artist who would speak to me in a language that I could respond to.

What kind of dialogue might be generated through materials as a language of research?

Combining what you have discovered and learned above, select a work of art that you do not know but like or find interesting, and investigate it by “responding to it through materials” rather than words.

thinking through materials CLASS 11 (a)

First Impression: uncomfortable clothes affected my performance Keywords: uncomfortable, performance

Igor Stravinsky’s The Rite of Spring from 1913

What do garments such as a kameez and dupatta in my wardrobe mean for me?

I feel they hold me up and support me Fragility and weakness are covered I am just trying to look strong instead of really being strong

References from Personal Works: lipstick revolution breaking conventions recreating the use of material drama/exaggeration

I want to bring authenticity and humanness to the material exploration: from intangible to tangible, from immaterial to material

Notice Board demands attention

Interest

Creating a personal approach to drawing through material, medium and posture exploration Explored through restrictive clothing, and then with oversized flowing clothing What happens when you draw while sitting on a table What happens when you draw while standing What happens when you paint on your eye level What happens when you paint on the floor What happens when you draw facing the paper what happens when you draw against your back.

What happens when you draw while experiencing sound.

Can you draw while dancing Can the drawing move, activate and engage

Material:

Brainstorming Ideas:

Additional Notes:

1.

1.

Drawing with fabric/duct tape/french pins/nails/ let the fabric drape its shape while listening to Stravinksy’s The Rites to Spring

2.

Draw directly on fabric /cut /develop a form /drape on a person /create a performance piece

3.

Drawing with different styles /sitting /standing /lying /collage /drape the fabric on top

Spinning, falling off the body Gauze/muslin Silhouette dependent on the weight and quality of materials, fabrics: heavy and stiff, soft and loose Music play... she performs.... someone throws a cobalt blue paint on her... she moves slowly... and last still with gold foil on her

2.

3.

Fabric one that I was most afraid of to experiment with in the first class Black duct tape: - tape as a medium to silence, block, shut, fasten Nail: reinforcement

drawing with fabric

Class 12

- STOP MOTION ANIMATION

BODY AS OBJECT FABRIC AS MATERIAL This exercise is a culmination of everything I have learned so far. I was exposed to the undertones of material manipulation, mapping, papier mâché and sound during conceptualization and editing of this stop motion animation.

•

What intrigued me the most is how the material has no boundaries when it comes to play, and I intend to stretch it to its limit.

The narrative revolves around the use of material which is the fabric. The play of body and material occurs but the identity of both remains disguised.

Key themes: Rhythm, Motion, Movement, Fluidity, Play, Reflection Undertones: Structure Vs Confusion — Constructivism Vs Chaos

Location: PIFD Open Air Theatre, 4th floor Performed by Cool Amz Music: Exclusive Mix By Tommy Cash Of ‘Pussy Money Weed’ (Produced By A.G. Cook) for Rick Owens Babel Spring/Summer 2019 reframed through Audio Editor mobile app Duration: 01 minute 15 seconds Storyboarding: 2 hours Draping: 60 minutes Body | Object ratio: 50:50 Number of frames per second: 10 (varied during production) Total number of frames used: 1074 Shoot Time: 45 minutes Editing and Production: 4 hours (give or take) Medium: Adobe Premier for final Piece Stop Motion Studio (for Windows) Microsoft in-built Video Editor (for sample study)

PROMPT

BRAINSTORMING

Rough Working - Premiere

Please Refer to the link below in case the video attachment doesn’t open : https://pern-my.sharepoint.com/personal/003_ade_pifd_edu_pk/Documents/Class%2012%20-%20Stop%20Motion%20%20Sarah%20Javaid/The%20Bunker_Class%2012_Sarah%20Javaid.mp4

WEEK

CHALLENGE THE MATERIAL

conversation starter Keywords: /antigravity/free-form/scale/perspective/movement/sitespecific/sound/response/performance/found objects/assemblages Material: Wire+Fabric Stretch the fabric and freeze it in time You are testing the limit of the material SAMPLE STUDY: a. Stockings, stretch it to the max and apply plaster of Paris onto it. Let it dry and you get a sculpture b. Knitwear sweater – stretch – screen print of plaster of Paris – dry – crackle – INTELLECTUAL DEBATE VS DRAMA/ATTENTION GRABING TACTIC What's your focus?

Who are you?

Who inspires you? – SHELLEY FOX – take her lead – ACCIDENTAL INNOVATIONS

brainstorming ideas . no1

brainstorming ideas . no2

brainstorming ideas . no3

brainstorming ideas . no4

brainstorming ideas . no5

brainstorming ideas . no6 the study

sample display

material exploration

material exploration

assembly

What happens when we transform the material’s character? Does it generate a new meaning or perhaps a new perspective?

execution

The play of material is there, but somehow, the identity of it remains disguised.

The installation identifies and explores the materiality and the expectations around it.

What possibilities can emerge from the use of it? Is there only one way to approach it?

How does space respond to the material? Does it contribute to the expectations from the material? These are a few questions that have struck me while approaching this project. What intrigues me is how the material has no boundaries when it comes to play, and I intend to stretch it to its limit.

The narrative is aimed at generating multiple dialogues on the matter and the material.

It also comments on how a space challenges and contributes to how a material is perceived. The dialogue between the space and material, the viewer and the viewed, and the means of viewing alter our experience and perception of how things are or how they appear to be.

: the reflection

Total material used: 62 meters (used for the installation) + 3 meters (used for the garment) = 65 meters Material category: Knitwear Sourced from: Sialkot Total number of cording used: 1436

Area covered: Location: Main Courtyard (administrative block)

sample study : the character

sample study : the performance

The installation identifies and explores the materiality and the expectations around it. Does a material have a boundary? Is there only one way to approach it? What possibilities can emerge from the use of it? How does space respond to the material? Does it contribute to the expectations from the material?

These are a few questions that have struck me while approaching this project. What intrigues me is how the material has no boundaries when it comes to play, and I intend to stretch it to its limit.

The narrative revolves around the use of the commonplace material found in the fashion school - the fabric.

What happens when we transform its character? Does it generate a new meaning or perhaps a new perspective? What appears as cording or stretch plastic tube is the pipping that takes a natural curl when stretched, indicating how the material's behavior may generate new dialogue. The installation is creating a conflict through the bias-cut strips which roll and form cords. The play of material is there, but somehow, the identity of it remains disguised.

Setting it up in the courtyard of the administration block against the backdrop of the concrete walls further adds to the conversation. The complexity within the loops represents confusion against the construct, a similar and questionable phenomenon that space continues to struggle with.

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