Pinpoints/Patterns installation 8' x 15' thread, pins, ribbon, cloth, chalk
This is a wall installation for a two-person show at The Saw Room in Evanston, Il. I collaborated with John Terdich to create an installation that evolved throughout the Pinpoints/Patterns exhibition. We both began by stripping down to the basic elements of our respective design craft. Both John and I utilize the by-products usually discarded from the process stages to create new narratives and societal discourse. I create visual work from the remnants of my dressmaking process, using thread as my drawing tool and connective device. I structure through needlework a crosshatch of materials to establish a new value for what is typically discarded, revealing what is commonly concealed in the facades of fashion. John Terdich, begins with a tool of the sign making trade - pounce patterns. This drawing technique applies layers of images or text and blurs the distinction between them.
photos: Ross Martens
The Saw Room @ Alley Gallery, April-May 2018
I'm playing in the studio with various armatures used to support my dressmaking process,
working additively against the walls to create a conversation with my tools and the architecture that surrounds me.
Wood, aluminum, leather, thread and cloth are my primary materials.
My home studio has a long bank of west facing windows with beautiful natural light, but not much wall space. I am taking advantage of the architecture in my Sharp 221 studio while in residency to create multiple intersections against the four walls, questioning the possibility of unhinging the inherent functions of the things I work with every day.
This work is quick moving and the possibilities seem endless. I am not sure where it is going, but enjoy playing with these relationships. I'm interested in Helen Marten's practice, and encouraged to look at the work of Rosy Keyser and Cady Noland.
Aron Packer Projects at Space 900/ 1042 Wesley Ave / Evanston / November 11-13, 2016
Image- Toile III, thread, cloth and leather. 2016 24" x 30" Photo: Bill Burlingham
Dressmakers are often confined to small spaces, small motor skills, mechanical cycles and repetitive processes. Handiwork is concealed in the inner linings of a garment. I don’t always want to stay inside of a dress. How can I use my skill set to address other spaces that the body occupies? How can I build coherent relationships from disparate parts? How can I connect the flow of raw material in my studio to a larger material stream and thought process?
Line is the fundamental element in my stitched drawings for Material Becomes the Thing, as line is the fundamental structure of cloth and dressmaking. It exists as a filament, a fabric grain, a tracing, a seam, a hem, and an opening. My raw material for this work is a by-product of my dressmaking process and comes in parts. Thread is my connective device to reintegrate cloth fragments and garment remnants into coherent visual relationships. I structure through needlework a crosshatch of materials to establish a new value to what is typically discarded, a new surface to reveal what is commonly concealed in the facades of fashion.
- Kristin Mariani
- Kristin Mariani
Photo Credit Bill Burlingham
Orphaned Fragments: the dissection of particular parts where two things intersect.
This is a series of stitched drawings that I'm developing from my understanding of the armhole as a dressmaker. It is my closer investigation of the technique of sewing a set-in sleeve, and on the word "armscye" itself. I was fooled by the word for the first decade of my dressmaking as I was mastering the technique, because most dressmakers refer to and pronounce the opening as "arm's eye."
I'm making these drawings from deconstructed fragments of the armhole, with attachments to other parts pulled from seam allowances. My drawing process provides a way for me to consider both the construction technique and the devolving of the word "armscye" from etymological fragments. The dictionary does not provide a clear trace of meaning, nor is it clear that these are drawings of the armhole.
A set in sleeve looks effortlessly beautiful on the outside--a curved arch that holds space for the arm's mobility--however the inside reveals the awkward, imperfect hand work needed to ease the relationship between the sleeve and the armhole. I'm most interested in these imperfections found on the inside that trace the work of the human hand. I'm purposely distorting the standard pattern technique to balance the arm hole, repeating the compositional format with different results.
Armscye 1 and 2 for ARTwork 6
January 19 - February 1, 2013
Photo Credit Day Still
A Slip of the Handling is a table top styling session that animates the thoughts, gestures, and feelings that go into my design process for RedShift.
Revisiting the designed objects, the table top becomes a playground where materials come within reach of hand and eye again, and the things made go through a blurry process of valuation. How might the object’s use and value change post-production?
For me the photo session serves as a bartering act between the photographer/camera and myself. While the camera creates a state of ﬁxation on the object, I rejuvenate my design impulses to transform the materials. In this mediating session, the hand becomes an instrument of thought and prop for the product of labor, and maker becomes partner in the fetishism of the object.
RedShift for db12, Volume 2
Photo Credit Day Still
RedShift at Chicago Architecture Foundation
Loop Value: The How Much Does It Cost? Shop is a quasi pop-up store that reveals the far reaching impact our habits of consumption have on the world around us. Visual displays act as educational tools to raise awareness and offer options to remediate these habits. RedShift created for this exhibit a series of dresses covered in mass market slogans, combining details from a number of thrift store garments.
Exhibit designed by Jason Pickleman
Photos by Day Still
photo credit Nicole Radja-Time out Chicago
Records of Use
16'x 9'x 3'
Records of Use is a site specific wall installation created for the exhibit Dimensional Lines: Art + Dress at the Evanston Art Center. Seeking to reveal and elevate the physical evidence of both maker and wearer found between the layers of worn garments, I've developed a vocabulary of line from the by-products of my dressmaking process. Relating these filaments to the built environment of the exhibit site, I've drawn a grid overlay on the surface of the existing drywall facade at the northern end of the gallery space. Using the markings of former installations as a compositional device, the remnants become interwoven with the wall. Deconstructed pattern pieces, pulled seams, and garment parts represent a bodily occupation on the surface of the facade. The grid drawing continues to the backside of the wall to highlight the space between it and the original paneling, revealing the former uses of the historical building. Here I’ve stitched directly into the surface to leave a lasting record of my own occupation of the site.
(see page 2 of article)
Review: Dimensional Lines: Art + Dress