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Capstone custom homes athens al do my what is a capstone in graduate school the art of personal essay pdf download I think a lot of little girls will make clothes for their dolls my family is quite an artistic they're always fabrics around and knitting and crochet and embroidery I have tiny little clothes but real miniatures real with beautiful beautiful details and so it was natural progression to go to a fashion school and didn't know text on this existed as a subject of study it was something you made clothes for your dolls where you may close to wear but you don't study textile I worked as a fashion designer for ten year Levin years all the research I was doing when I was a designer my daughter Emily she's now very interested to become a designer so I'm keeping all of this for her just in case so as I think it's very it's nostalgic so a specialist in knitwear design so these are knitted swatches so little samples of stitches that can be the basis for a collection of gomers I began working developing the fiber but from the development of the fiber then you have to know how to construct the material so this is the limited fabric and fabric constructed and then you also have to know how to make a garment so the three-dimensional form so then then these were transferred into garments and those skills I could then use later as an artist to make the refuge where sculpture and the body architecture sculptures there's no physical link in the sense formal link but is this some interest and passion in seeing something develop from the material aspect into a three-dimensional form minister to the Serbian para cada you know to the South Korea's imagine designers working today do have a much more conceptual approach to designing their collections that when I was studying we didn't look necessarily for meaning in the garment we look for the construction and materiality the texture the color the shape those are not conceptual there is a formal and I'm meeting Jorge there was a gradual shift then from what I was doing as a designer to the work that became more experimental as an artist and it started of course with textiles because that's was well my competencies were but then the garment became the sculpture so it moved from something quite practical to an object which was much more experimental and related to a particular concept or an issue at the time we start with a sketch like this and then we begin that this is the ideas on paper for discussion and then we begin to elaborate the actual artworks that we're going to create some have been made some have not been made but they're all there and research ideas a whole Bank over all of these are drawings from different projects we only survived from our work if their passion and it's our life we produce a lot of the work through Commission's with institutions cultural institutions the Amazonia project was commissioned by the Natural History Museum in London they asked us as artists how would you respond to the theme of biodiversity so that's what provoked us in a sense then to travel to the Amazon and with scientists as well to get a deeper understanding of what's happening in the Amazon the species climate change so this work is very much about nature and biodiversity as also this cycle of life and death the visible trace of species that have lived before and we'll translate it into different forms different materials porcelain photography we also have video work and textile work so for example this one is the lifeguard the lifeguard series the flowers are interpretations of photographs that we took when we're traveling in the Amazon and then elsewhere since since this project started so we've been in Southeast Asia and also in our backyard photographing flowers and they become drawings that they also become objects so like these textile flowers these become the final drawings and the representation of a possible sculpture that will be making in the studio these are the actual habitats themselves so they relate to the body architecture work which is from the mid 90s as well but now we're mixing fragments of clothing the flowers garments and the gloves so it becomes a kind of a collage this collage of all the different years of collecting fabrics these for example comes from a trip in India this one comes from a trip in China and this one comes from a chip triple in South Africa so this is a study for a three-dimensional art work so it's a two-dimensional study for a three-dimensional sculpture these flowers here will become the surface of the dwellings and the surface is also covered with fragments of clothing and the gloves and the garments reserve the human presence the glove is symbolic it's at the hand the gesture touching out feeling making a communication with and so it reoccurs often throughout the works particularly in the textile pieces of course because it becomes a very tactile object you want to touch it and you want to put your hand in but our work oscillates between the very poetical and the functional in fact we've trying to find something halfway between that this project is called clouds the clouds are formed with plastic bottles a direct representation of privatization of water and at the same time the plastic bottle also becomes a serious issue for pollution so water and waste polluting privatisation etc so these are studies for the cloud architectures it's the idea that the work creates those a trigger for more involvement in a sense a catalyst for people also to take on board the issues and develop them in their own personal way so we provide a platform to discuss and to experiment visually and in some sense it's also with specialist community we started off talking about the issue and then we take that on to an artistic level in a poetic level and we can bring it back and again also back to the community in a very wheel we've invited the students from the School of Architecture and their side to develop their own cloud has been interesting process see how other people interpret the subject you and so we talked about how to develop that process into an artifact an artifact an object which potentially has meaning as well how do we take the artifact out of a research situation and confront it with the public these are issues I'm involved with we have also a parallel project the development of these industrial buildings along the river so we're in the process of renovating and working together with the local community around to develop a site where artists can come an experiment and investigate them on different in different ways with the environment with the local community or with the industrial heritage with the river with the nature so it's a long project because these are huge buildings huge factors we try to create an artwork which is has an engagement with society and engagement with people so that a real transformation can take place so on the one hand there's an object but the idea of working with the communities and creating a discussion and creating an artwork which can be strong in this sense move people to talk about issues then we feel our role as artists has been accomplished because we're creating a real discussion and a real change and in the long-term sense so we believe in the work that triggers and catalyst people to think differently and act differently and we can do that through art together we are much stronger than alone because we complement each other in different ways that allows us to develop these projects on a large scale if we're working in a small studio painting we're not going to change the world with that but we need to have the infrastructure the building's the studio's the mechanisms if we create a village complex then we can invite other artists to come there are collectively then together then we have the force to be able to confront society and develop strong messages that have real potential do my internet of things applications in 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