this evening i went to the Shape of Things to Come graduate exhibition (those that graduated 2010) at The Block in the QUT Creative Industries Precinct. so informative, so mind-opening (though i had to get my wonderful partner (in crime and lrv) to explain most of the artist statements to me - my brain has been in hiberation for the past 12 months and is still coming to terms with its new-found use), so eye-opening. very visually tactile. some of my favourite features are highlighted below.
afterward, i attended the equally entertaining + stimulating Indie Gets Serious talk / presentation in the same precinct with a (soul)mate of mine. thanks to the gaming industry knowledge that has been passed onto me in the past year, i understood and was able to appreciate / take a lot away from it - some issues / words of advice non-gaming related.
at the Shape of Things.. exhibition, the fashion pieces by Shenaz Engineer were arguably my favourite part - or were at least the work/s that made me gasp out loud the most. to view each up close was extraordinary, and i believe completely necessary - the attention to detail in the perfect stitching / placement of every single piece of fabric / seam / print was, for some reason, unexpected. i definitely picked up on a few Alexander McQueen vibes, though her view was still obviously quite independent - for example i think i noted a mirrored image of a washing machine / lamp-lit hallway within one of the screen-printed bodysuits - and i'm sure the fact that Shenaz partially INTERNED FOR THE MAN / HOUSE HIM/ITSELF doesn't hurt. though i enjoyed that the prints were quite obscure and somewhat unintelligable; their actual contents most likely unbenknownst to most onlookers..
as i seam to mostly love fashion that seems to have the perfect balance of masculine v feminine, hard v soft..the pieces really spoke to me.
i took some webcam-quality images on my phone, but think it is in the best interest for all involved to just reference some externally sourced images:
(detail images via)
(image via)
'this collection was based on the concept of a kaleidoscope, and basically applying that to a world perspective. not analyzing the kaleidoscope itself, but seeing things in a different perspective, and applying it to the world. a lot of the print works included in the collection are actually photographs i took on my travels around the world.'
- Shenaz Engineer
i found it a little difficult to source images of some of the floatier pieces - but they can be viewed in pretty good quality below:
i also really enjoyed the Aurelia jellyfish-inspired lighting piece designed + created by QUT graduate Interior Design students Ian Knight, Claire Mören, Kate Tuffley and Christina Willington.
'drawing on the concept of form following function, the design exploration process began with examining algorithmic and geometric patterns, both of which can have a simplistic or complex result. the process led to exploring the coral reef with its form and pattern – the inspiration to take the form of the coral reef came from Nervous Systems who takes a natural organic form and implements the design pattern with algorithmic techniques.
the design was roughly inspired by a London seafood restaurant that prides itself on its seafood-based interior design; Olivomare.
the interior was decorated + designed by Architect Pierluigi Piu, features an M.C.Escher print of repetitive fish on one wall, and has a ripple-like walled section in another area.
the restaurant also notably features 'references to ocean life [that] continue with lighting overhead that is diffused by a thin nylon net, which appears to be luminescent tentacles, evoking a stray shoal of jellyfishes or sea anemones. there is also a room divider which looks like an enlarged fishing net, and a small dining room at the back clad in a wavy relief meant to evoke the sandy surface of the beach when moulded by the wind. finally, a trip to the washrooms involves entering into a surrounding of red branches from a coral reef.'. conceptual fashion design is certainly up my alley, so there was no reason for me to not enjoy this thematic restaurant / interior design also !
XXXXXXXX
i've often thought that if i didn't choose Fashion as a career path, that Interior Design would be something to seriously consider as an alternative. i remember forever designing my dream home, draft after draft, for years in what i think i remember to be around primary school age.. though i think i would have an issue with customer satisfaction; i would want to create houses as i would like them to appear, rather than according to the tastes / instructions of clients..
SO WE TOo by Marcel Daniels was another piece that my brain needed a little helping kick-start on to initially grasp the concept behind the work.. though it was visually attractive in its own right, i was glad to understand the idea. basically (or as far as i can / could gather), Marcel wanted to communicate the impact / effect that colonisation can have / has had / does have on small, previously un-touched, villages and non-urban areas of the world.
SO WE TOo depicts '..a South African township..made from paraffin wax..the sculptures are displayed on a highly reflective acrylic sheet.' the idea of the reflectiveness was so that, as a viewer of the work, in leaning over it and looking closely, your reflection is cast onto the display - thus changing, influencing and affecting the sculpture / township. this reflects affects of colonisation.
afterward, i attended the equally entertaining + stimulating Indie Gets Serious talk / presentation in the same precinct with a (soul)mate of mine. thanks to the gaming industry knowledge that has been passed onto me in the past year, i understood and was able to appreciate / take a lot away from it - some issues / words of advice non-gaming related.
at the Shape of Things.. exhibition, the fashion pieces by Shenaz Engineer were arguably my favourite part - or were at least the work/s that made me gasp out loud the most. to view each up close was extraordinary, and i believe completely necessary - the attention to detail in the perfect stitching / placement of every single piece of fabric / seam / print was, for some reason, unexpected. i definitely picked up on a few Alexander McQueen vibes, though her view was still obviously quite independent - for example i think i noted a mirrored image of a washing machine / lamp-lit hallway within one of the screen-printed bodysuits - and i'm sure the fact that Shenaz partially INTERNED FOR THE MAN / HOUSE HIM/ITSELF doesn't hurt. though i enjoyed that the prints were quite obscure and somewhat unintelligable; their actual contents most likely unbenknownst to most onlookers..
as i seam to mostly love fashion that seems to have the perfect balance of masculine v feminine, hard v soft..the pieces really spoke to me.
i took some webcam-quality images on my phone, but think it is in the best interest for all involved to just reference some externally sourced images:
(detail images via)
(image via)
'this collection was based on the concept of a kaleidoscope, and basically applying that to a world perspective. not analyzing the kaleidoscope itself, but seeing things in a different perspective, and applying it to the world. a lot of the print works included in the collection are actually photographs i took on my travels around the world.'
- Shenaz Engineer
i found it a little difficult to source images of some of the floatier pieces - but they can be viewed in pretty good quality below:
i also really enjoyed the Aurelia jellyfish-inspired lighting piece designed + created by QUT graduate Interior Design students Ian Knight, Claire Mören, Kate Tuffley and Christina Willington.
'drawing on the concept of form following function, the design exploration process began with examining algorithmic and geometric patterns, both of which can have a simplistic or complex result. the process led to exploring the coral reef with its form and pattern – the inspiration to take the form of the coral reef came from Nervous Systems who takes a natural organic form and implements the design pattern with algorithmic techniques.
the design was roughly inspired by a London seafood restaurant that prides itself on its seafood-based interior design; Olivomare.
the interior was decorated + designed by Architect Pierluigi Piu, features an M.C.Escher print of repetitive fish on one wall, and has a ripple-like walled section in another area.
the restaurant also notably features 'references to ocean life [that] continue with lighting overhead that is diffused by a thin nylon net, which appears to be luminescent tentacles, evoking a stray shoal of jellyfishes or sea anemones. there is also a room divider which looks like an enlarged fishing net, and a small dining room at the back clad in a wavy relief meant to evoke the sandy surface of the beach when moulded by the wind. finally, a trip to the washrooms involves entering into a surrounding of red branches from a coral reef.'. conceptual fashion design is certainly up my alley, so there was no reason for me to not enjoy this thematic restaurant / interior design also !
XXXXXXXX
i've often thought that if i didn't choose Fashion as a career path, that Interior Design would be something to seriously consider as an alternative. i remember forever designing my dream home, draft after draft, for years in what i think i remember to be around primary school age.. though i think i would have an issue with customer satisfaction; i would want to create houses as i would like them to appear, rather than according to the tastes / instructions of clients..
SO WE TOo by Marcel Daniels was another piece that my brain needed a little helping kick-start on to initially grasp the concept behind the work.. though it was visually attractive in its own right, i was glad to understand the idea. basically (or as far as i can / could gather), Marcel wanted to communicate the impact / effect that colonisation can have / has had / does have on small, previously un-touched, villages and non-urban areas of the world.
SO WE TOo depicts '..a South African township..made from paraffin wax..the sculptures are displayed on a highly reflective acrylic sheet.' the idea of the reflectiveness was so that, as a viewer of the work, in leaning over it and looking closely, your reflection is cast onto the display - thus changing, influencing and affecting the sculpture / township. this reflects affects of colonisation.
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