Background
The impacts of ‘retail therapy’, as a contemporary, socially acceptable practice, where shopping is an aesthetic experience that fulfills a range of social and emotional needs (apart from an object’s utilitarian value), has been an area of discussion amongst environmentalists and sustainable fashion advocates. It has also been a discussion amongst psychologists with regards to psycho-social habits of fashion consumerism as a form of social acceptability. This solo exhibition, curated in a gallery that resembles a retail space, tries to make visible this tension between the personal and social experience of clothing aesthetics.
Contribution
A retail shop-turned-gallery exhibited a collection of my copper dress-art pieces,knitted with threads and wire to capture my own emergent aesthetic from the process of rogue knitting and working experientially in different locations. Thirty pieces were included at the Beatrix Rowe Interior Design Gallery and these pieces resemble clothing that cannot be worn, offering prompts for people to stop and think about their habits of shopping and their experiences within a ‘shop space’. The play on the notion of the shop where people buy clothing, was enforced with hand-crafted distressed linen name/price tags attached to each dress-art piece. Each sculptural drawing was named according to the character of the dress-art piece that emerged from my experiential and experimental artistic process.
Significance
The technical processes of creating textile works link back to ancestral knowledges and engaging in these practices today hold important historical significances for many cultures. Dress-scholarship is the field of study and research into the different kinds of dress throughout the ages, for individuals and cultural groups, considering bodies, gender, politics, sociology and identity. This body of research develops new approaches to art practice specific to my place and identity, and dress-scholarship.