Morphic to BRIGHTNESS: How can Dynamic Cutting as a Costume Making Process be Explored in the Context of Dance Performance to Further Evolve the Method

Sgro, D

Morphic to BRIGHTNESS: How can Dynamic Cutting as a Costume Making Process be Explored in the Context of Dance Performance to Further Evolve the Method

Sgro, D

Permalink

Publication Type:: Conference Proceeding
Citation:: www.costumeagency.com, 2020
Issue Date:: 2020-08-21

Closed Access

	Filename	Description	Size
	Sgro_CC_Paper_Manuscript-Final.pdf		117.64 kB	Adobe PDF	View/Open

Copyright Clearance Process

Recently Added
In Progress
Closed Access

This item is closed access and not available.

Full metadata record

Field	Value	Language
dc.contributor.author	Sgro, D https://orcid.org/0000-0002-0300-1389
dc.date	2020-08-21
dc.date.accessioned	2020-12-09T03:08:57Z
dc.date.available	2020-12-09T03:08:57Z
dc.date.issued	2020-08-21
dc.identifier.citation	www.costumeagency.com, 2020
dc.identifier.uri	http://hdl.handle.net/10453/144579
dc.description.abstract	Morphic is a series of five experimental costumes I have made for a new Australian dance production BRIGHTNESS, developing in collaboration with dancer and choreographer Kristina Chan and visual artist and dramaturg Clare Britton. Critical Path Responsive Research Residency (Sydney 2019) supported the development which is due for production in 2020. My role in the collaboration is costume designer. As a creative pattern cutter, maker and designer working in fashion and textiles, this is my first work for dance. A mutual conceptual interest in the dynamics of natural systems underpins this collaborative project. In making this series of costumes, I explored an opportunity to evolve my method of Dynamic Cutting (Sgro, 2018). Dynamic Cutting involves attuning to both material and spatial creativity in the cutting of garments. Understood as costumes or spatial textiles, I refer to them as ‘chrysalises’ reflecting their conceptual development based in my ongoing studies of metamorphosis. The ‘chrysalises’ emerge in their process of making. By directly attuning to the material and spatial qualities present when collaborating with the textile and my methods, I evolve each form which comprises this series. I do not sketch or first make a pattern; instead, I design responsively, using embodied knowledge. By explicitly reflecting on experimentation which has taken place in this project, I aim to elaborate on Dynamic Cutting as performative textile making. This will inform the further iteration and development of this work for production. I will discuss how I perform in collaboration with each of the materials I use as I evolve the ‘chrysalises’ and then how Kristina’s performance with them changes my understanding of the ‘chrysalises’ again, revealing their spatio-material agency.
dc.format	Video presentation link
dc.language	en
dc.relation.ispartof	www.costumeagency.com
dc.relation.ispartof	Critical Costume 2020: Costume Agency
dc.rights	info:eu-repo/semantics/restrictedAccess
dc.title	Morphic to BRIGHTNESS: How can Dynamic Cutting as a Costume Making Process be Explored in the Context of Dance Performance to Further Evolve the Method
dc.type	Conference Proceeding
utslib.location.activity	Oslo, Norway
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Design
pubs.organisational-group	/University of Technology Sydney
utslib.copyright.status	closed_access	*
pubs.consider-herdc	false
dc.date.updated	2020-12-09T03:08:52Z
pubs.finish-date	2020-08-23
pubs.place-of-publication	www.costumeagency.com
pubs.publication-status	Published online
pubs.start-date	2020-08-21
dc.location	www.costumeagency.com

Abstract:

Morphic is a series of five experimental costumes I have made for a new Australian dance production BRIGHTNESS, developing in collaboration with dancer and choreographer Kristina Chan and visual artist and dramaturg Clare Britton. Critical Path Responsive Research Residency (Sydney 2019) supported the development which is due for production in 2020. My role in the collaboration is costume designer. As a creative pattern cutter, maker and designer working in fashion and textiles, this is my first work for dance. A mutual conceptual interest in the dynamics of natural systems underpins this collaborative project. In making this series of costumes, I explored an opportunity to evolve my method of Dynamic Cutting (Sgro, 2018). Dynamic Cutting involves attuning to both material and spatial creativity in the cutting of garments. Understood as costumes or spatial textiles, I refer to them as ‘chrysalises’ reflecting their conceptual development based in my ongoing studies of metamorphosis. The ‘chrysalises’ emerge in their process of making. By directly attuning to the material and spatial qualities present when collaborating with the textile and my methods, I evolve each form which comprises this series. I do not sketch or first make a pattern; instead, I design responsively, using embodied knowledge. By explicitly reflecting on experimentation which has taken place in this project, I aim to elaborate on Dynamic Cutting as performative textile making. This will inform the further iteration and development of this work for production. I will discuss how I perform in collaboration with each of the materials I use as I evolve the ‘chrysalises’ and then how Kristina’s performance with them changes my understanding of the ‘chrysalises’ again, revealing their spatio-material agency.

Please use this identifier to cite or link to this item:

http://hdl.handle.net/10453/144579