Transitions

Pachana, NA

Transitions

Pachana, NA

Permalink

Publication Type:: Exhibition
Citation:: 2010
Issue Date:: 2010-12-01

Open Access

Copyright Clearance Process

Recently Added
In Progress
Open Access

This item is open access.

Adobe PDF

Download Published versionAdobe PDF (5.64 MB)

View statistics

Full metadata record

Field	Value	Language
dc.contributor.author	Pachana, NA	en_US
dc.date.issued	2010-12-01	en_US
dc.identifier.citation	2010	en_US
dc.identifier.uri	http://hdl.handle.net/10453/32716
dc.subject.classification	Clinical Psychology	en_US
dc.title	Transitions	en_US
dc.type	Exhibition
utslib.for	1203 Design Practice and Management	en_US
utslib.for	1701 Psychology	en_US
utslib.for	1702 Cognitive Sciences	en_US
dc.location.activity	L'Oreal Melbourne Fashion Festival Cultural Program Guide
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	open_access
pubs.publication-status	Published	en_US
pubs.rights-statement	This research can be located in the interdisciplinary area of fashion practice, textile practice and fashion film. Bless, Boudicca and Hussein Chalayan are three examples of fashion designers who work across the disciplines of design, art and architecture. As discussed by Francesca Granata in relation to the work of fashion designer Shelley Fox, this type of work may be understood as expanded practice. Recently, as explored in the work of fashion designer, Yin Gao, fashion films – where the work is both performed and documented – have been used as a means to demonstrate the processes of such practice. The question that this project addresses is: how can the form of garments be re-interpreted by the moving image, to both document and perform the work? Transitions is an installation including twin-projected fashion film, hanging garments, sculptural forms and garment pattern pieces. The two film projections overlapped, creating ‘live’, continual movement within the space. The aim was to explore how the form of the garment could be both presented and represented spatially in different ways – that is, as garment pattern, as moving image, as static garment and as sculpture, by manipulating both analogue and digital technologies – in order to discover new understandings of garment forms. The exhibition, presented at No VACANCY Gallery, a Melbourne gallery that supports emerging and experimental artistic work, was part of the L’Oreal Melbourne Fashion Festival Cultural Program, a significant annual curated event in the field.	en_US

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

http://hdl.handle.net/10453/32716