Today’s tutorial was a discussion surrounding final pieces and the technicalities of visualising my concept. I originally planned to create a child sized Tepee which would then feature my decorative embroidery onto the fabric panels. The aesthetic would be heavily inspired by both digital folklore (snapchat stories) and traditional folklore (North American artefacts). However, the purchased fabric pattern is for a Tepee of adult shoulder height, and my tutor believes that this could become a clichéd replication of the products seen in the mainstream market. Therefore, my plan has been altered to create an adult sized Tepee which can be either produced from the small fabric pattern, or from a different shape. Furthermore, if I am creating a structure with a focus on internal space, I am intending to place my embroidered designs onto the inside of the fabric so as to be discovered on entering. This will fit with the Plains mythology of the inside of the communal Tepee as being a scared place.
Lucy and Jorge Orta are sculptural artists who investigate the boundaries between the body and architecture. They explore common social factors, communication and identity through a series of works, the most influential being Refuge Wear 1992-1998. Refuge Wear is a series of temporary shelters which can be transformed into clothing to offer protection from harsh conditions and emergencies. The work is a response from crisis’s in warzones and the increasing homelessness on the streets of Paris which leave people desperate. The garments are described as portable habitats that convert into backpacks or rain coats to aid personal comforted mobility. This transformation is a metaphor for freedom of movement, free will or choice and cultural changes. The forms are extremely ergonomic and take into consideration minimal body space in reaction to Claustrophobia and overall body comfort. The sculptural work is relevant to my visual practice as it is crucial for me to consider the impact of my structure and how this can fit into my personal passion for raising awareness of subject matters. As a result, I want to consider the usefulness of my structure as my work is never intended to be solely fine art. Aspects such as homelessness and keeping the old warm, or the juxtaposition of having a fabric based structure within the city are aspects to consider more closely through the developments of my project.