When Vikki Kassioras and I first talked about doing the Black exhibition, I was reading a book on black by Michel Pastoureau - Black. The History of a Colour.
Both Vikki and myself have used black as a colour in our respective work for many years, so it seemed right to explore it further in an exhibition together.
Often black is viewed negatively, but I have never felt that way about it as a colour. I have always found it interesting.
My feelings about this were clarified in a discussion about the colour black that I had with Steph Williams when we were working on the exhibition Kodama at e.g.etal.
Steph told me that she had not fully understood black as a colour until she worked at the Dover Street Market for Comme des Garcons. In understanding the work of Rei Kawakubo, Steph also came to understand the significance of black. Steph writes that:
"Rei Kawakubo uses black to simplify yet strengthen her work. By not complicating a piece of clothing with colour, it enables her to fully focus on the structure of the piece and really highlighting the way it interacts, moves and morphs the body. She is the master of using black to create movement and life."
I have been lucky enough to host a totally exciting giveaway on The Airloom...a distance course through the Australian College of Professional Styling. If you know anyone that has always wanted to get into styling and may want to win, please direct them to The Airloom for details.
Entries close 10 September 2010
Good luck to those that are interested!
while you are there also check out Interview Me, another excellent project by the inspiring Steph Williams
Sunday, August 22, 2010
from An Exhibition Triptych Yohji Yamamoto 2006
To single out the moment of waking something that was asleep: all creation is a repetition of that moment. A repetition of fragments. I want to achieve anti-fashion through fashion. That's why I'm always heading in my own direction, in parallel to fashion. Because if you're not waking up what's asleep, you might as well stay on the beaten path.
Yohji Yamamoto p.94
Theme 1 : Black
'Noir ombre finale et silhouette de tout'
Black has several meanings for Yohji.
Black is the colour of shadows.
Black is his widowed mother's colour.
Black is the colour of Bunraku theatre
(in Bunraku puppets are manipulated by men
Black is a mixture of all colours.
Black is the colour he has chosen to express himself.
All the clothes in this series are black but made out of
different fabrics and cut in different shapes. . p.83
(photos taken of image by Donata Wenders in An Exhibition Triptych Yohji Yamamoto . p. 6)
My contribution will be a series of works on paper. This will be the first time I have exhibited works on paper. My drawings/paintings are of jewellery forms.
Below is a description of the exhibition which is found on the blog that Vikki established for the exhibition
Black: An Exhibition showcases contemporary jewellery by Vikki Kassioras and drawings by Katherine Bowman, as they explore the decorative possibilities of the colour black - an iconic aspect of fashion. Vikki Kassioras explores Black through her use of materials, surface patination such as oxidisation and with gems such as onyx and obsidian. Katherine Bowman's explorations are realised through the mediums of drawing and painting. Intricate patterns and decorative details are created in pencil, ink, watercolour and collage.
curated by Katherine Bowman
I will write further on this show, invitation and images to follow
(these images are of our work, not necessarily what will be exhibited)
To answer the question, "What do the words red, blue, black and white mean?" we can, of course, immediately point to things that are those colours. But our ability to explain the meaning of these words goes no further.
Ludwig Wittenstein Remarks on Colours/Bemerkungen uber die Farben 1, 68
details of images from These are the things that hold me here exhibition 2004
Byzantiumn.an ancient Greek city on the Bosporus, commanding the entrance to the Black Sea: Constantine I built the city of Constantinople on the site, AD330; now Istanbul.
Many years ago I began researching ancient jewellery.
I realised that in most cultures, what was considered important was put onto jewellery forms as well as textiles. Motifs of significance were engraved, enameled across the surface of the jewellery piece. And then worn on the body. When I started making production jewellery I wanted to make jewellery that could be worn everyday, but at the same time I wanted the work to reference other things. Things that make life more significant. So what came to be seen as decoration across the jewellery that I made, also were a system of symbols and signs that reference my research and I suppose belief systems. In Byzantine art feathers are engraved across the surface of jewellery,vessels and utilitarian objects, the inclusion of such hinted to the Divine, the sacred and so on.
The motif of the feather has perhaps been the most significant for me as a motif in my jewellery. I have also used the motif of the warp and weft of fabric for many years (this is also my Markers Mark).
So my Byzantium ring continues this tradition. I wanted to make a ring that looked very old (and wonky as a result). The engraving is also wonky as the form it is engraved across is not perfect. With wear parts of the engraving will wear down, be burnished off, so the patterning will continue to change along with the person wearing it.
this tablecloth was given to me by my mother, and it was given to her by my Grandmother.
I am a big believer in using everything that you have, not keeping anything 'for good', but I can not use this tablecloth as a tablecloth, because my tablecloths never stay 'good', and this piece is special to me. Because I still wanted to use it in some way, this tablecloth has become a curtain.