Showing posts with label Bill Burlingham. Show all posts
Showing posts with label Bill Burlingham. Show all posts

Armscyes


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

Records of Use



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