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".
The Couture Drawing series 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 in many of these pieces is organza - a favourite of couture houses for ballgowns of the 1950's. It is a silky, transparent and difficult to sew material which is structural and holds its form. In symbolic terms it represents glass: the expensive embodiment of super-modern architecture: reflective and transparent, simultaneously void and mass, fragile and strong.
Some of the work in this series was exhibited in Edge to Edge at the Cello Factory in 2021. Follow the link to a discussion about inspiration and making methods with co curator and artist Robert Dunt:
Most images below by @amandarosephoto