Topographical Complexities I

Clifton-Cunningham An

Topographical Complexities I

Clifton-Cunningham An

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Publisher:: Fashion Art Biennale Seoul, Korea
Publication Type:: Exhibition
Citation:: International Fashion Art Biennale Seoul, Korea

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	CliftonCunningham_2012001932_Topographical.pdf	Published version	3.88 MB	Adobe PDF	View/Open

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Field	Value	Language
dc.contributor.author	Clifton-Cunningham An	en_US
dc.contributor.editor	Cho, K	en_US
dc.contributor.editor	Kim, J	en_US
dc.contributor.editor	Lee, S	en_US
dc.contributor.editor	Lee, Y	en_US
dc.date	2012-11-24	en_US
dc.identifier.citation	International Fashion Art Biennale Seoul, Korea	en_US
dc.identifier.uri	http://hdl.handle.net/10453/31827
dc.format	Knitted work	en_US
dc.publisher	Fashion Art Biennale Seoul, Korea	en_US
dc.relation.ispartof	International Fashion Art Biennale Seoul, Korea	en_US
dc.title	Topographical Complexities I	en_US
dc.type	Exhibition
utslib.location	Seoul, Korea	en_US
utslib.for	120306 Textile and Fashion Design	en_US
pubs.embargo.period	Not known	en_US
pubs.organisational-group	/University of Technology Sydney
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
utslib.copyright.status	closed_access
pubs.consider-herdc	false	en_US
pubs.place-of-publication	Seoul, Korea	en_US
pubs.start-date	2012-11-24	en_US
pubs.rights-statement	The body of garments titled ‘Topographical Complexities 1’, was developed for the 2012 International Fashion Art Biennale in Seoul, Korea. I was invited as an international guest artist to create work that responded to the theme, ‘The Green Project’: The destruction of nature & the ecological crisis’. The exhibition ran for a period of 12 days from 24 November 2012 to 5 December 2012 at the Seoul Museum of Art (SeMA), Gyeonghuigung Annex Building. The work used the demise of coral in the Australian Great Barrier Reef as a starting point, focusing particularly on forms that represented coral bleaching and breakdown. The aim of the collection was to investigate a new method of ‘short row’ knitting that was developed on a domestic knitting machine where a new type of form was created through the inclusion of hand manipulation in the knitting process. The result of this method was the creation of an individual component – a twisted, cell-like form – which could be repeated across various scales to form a patterned fabric. The research therefore taps into aspects of the art-science-design debate. The final collection was formulated as a body suit, leg pieces and asymmetrical arm piece. The outcome demonstrated a new typology in knitted three-dimensional wearable forms.	en_US

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http://hdl.handle.net/10453/31827