Process Art and its influence upon my textile and fashion modules.

An artist who influenced me in the textile and fashion modules and one whose ideas I find pertinent to some of my own thoughts about the creative 'process' and subsequent outcomes is Barry Le Va.

As someone who has been defined as a 'Process' sculptor, his work amongst others, involved ideas of the attendance of the body,or the viewer as the unraveller of art, presented as randomn occurrence or acts of apparent subconscious improvisation. Process artists have been associated with the liberating qualities of non formally sculptural materials. I personally found this in my own ideas and outcomes in textiles and also as ideas that occurred within my fashion module.

The oftentimes outcomes were erratic eccentric creations that resulted from 'processes' such as suspension, cutting, joining or 'ideas' involving decay, growth or the naturally organic event. The nature of the 'process' often made visible the effects of time passing. the insubstantial qualities of the materials used or engaged with or the language of the environment containing the work.

One of the areas I wanted to explore in textiles and in fashion was the use of the non traditional and to expose and integrate ideas into areas that related to the elements and nature.

In fashion this led me to looking at meat as part of decomposition or decay although ultimately I became more intrigued by political ideas. It also led me to look at ideas of the amalgamation of non traditional materials that would interact with the environment or at least use aspects of the environment as central to the creative process. In fashion's case I was concerned with signals, sound, light, colour and how fashion might work with communication networks and respond to those. This was perhaps more to do with man made environments than the natural elements although the conduit for the signals was of course ultimately air.

In textiles my outdoor piece was very connected to the idea of nature and the notions of exposing what was made to elemental forces such as time, gravity, the vagaries of the weather and the interaction of the piece with animals, insects and birds. In many ways I was looking at mirroring nature and using a non traditional sculptutural material (wool) to invite a process of questioning in the viewer.



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