In A Field Guide to Getting Lost, (2005)  Rebecca Solnit proposes that "getting lost is about the unfamiliar appearing". We may alter our perception of our condition, and "...cease to be lost not by returning, but by turning into something else". 


Couture Drawing challenges materiality, and function, looking at what happens when processes and materials from different disciplines collide. It investigates the inter-connectedness of two sides of my practice. 

The textile used for many of these pieces is organza - a favourite of couture houses for ballgowns of the  1950's. It is a silky, transparent material - difficult to sew, but holds its form. In symbolic terms it represents glass: the embodiment of super-modern architecture. Both reflective and transparent, void and mass in one contradictory component, fragile and strong at the same time.   

Most images below courtesy of the amazing    @amandarosephoto