Above
Below
Below
Digital sketches; inseam pocket detail
21-piece pant pattern collage; organza and taffeta ensemble
October–December 2021
21-piece pant pattern collage; organza and taffeta ensemble
October–December 2021
On architectural absence, a draping experiment informed by Gordon Matta-Clark’s guerilla performances and photomontage documentation.
In the 1970s, Matta-Clark staged a series of “cuttings”—site-specific anarchitectural interventions that disrupted structures on the verge of capitalist obsolescence.1 Suburban houses and abandoned industrial warehouses were chainsawed and surgically fractured. His spliced Cicachrome prints documented these works through an “unstable assemblage[s] of floating gaps,”2 capturing his violent, ephemeral gestures in a disoriented space.
I explored scaling these gestures to the body-garment-site, where conventional seams are ruptured and rearranged. Extruded lantern sleeves bisect the body; intersecting, inverted French seams introduce fragmented planes. Reassembling gaps into unstable forms, the garments configure fabric, body and surrounding space into a composite whole.
1 Morgan Tg, “History in Gordon Matta-Clark’s Sublime,” in Thresholds, no. 36 (2009): 50–57.
2 Mark Wigley, “Splitting SPLITTING,” in Cutting Matta-Clark: The Anarchitecture Investigation (Baden: Lars Müller Publishers, 2018), 178.
In the 1970s, Matta-Clark staged a series of “cuttings”—site-specific anarchitectural interventions that disrupted structures on the verge of capitalist obsolescence.1 Suburban houses and abandoned industrial warehouses were chainsawed and surgically fractured. His spliced Cicachrome prints documented these works through an “unstable assemblage[s] of floating gaps,”2 capturing his violent, ephemeral gestures in a disoriented space.
I explored scaling these gestures to the body-garment-site, where conventional seams are ruptured and rearranged. Extruded lantern sleeves bisect the body; intersecting, inverted French seams introduce fragmented planes. Reassembling gaps into unstable forms, the garments configure fabric, body and surrounding space into a composite whole.
1 Morgan Tg, “History in Gordon Matta-Clark’s Sublime,” in Thresholds, no. 36 (2009): 50–57.
2 Mark Wigley, “Splitting SPLITTING,” in Cutting Matta-Clark: The Anarchitecture Investigation (Baden: Lars Müller Publishers, 2018), 178.