Category: AAD012

TADF Sustainability – Katie Jones

Katie Jones is an independent designer of women’s wear from the United Kingdom. She largely focuses on sustainability and reuses scrapped fabric to create her textile work and clothing, a wide range including jackets, shirts, shawls jumpers, chair covers, bags and more. Katie favors the medium of crochet and embroidery which acts as a successful method for her recycled fabrics and materials to be transformed through. Katies work is recognizable through the bright and vivid choices of colour palettes, arranged into neat and simplistic shapes that allow said colours to stand on their own, with the odd exceptions of individual pieces designed for cat walks and to be modeled at events as seen in her ‘Romance Is Born’ collection for Paris fashion week which exemplifies her capability to produce intricate and glamorous work. As a lesser known designer who’s work possesses a bold characteristic – alongside an innovative and forward thinking desire to maintain a sustainable brand – it is not surprising that she won Selfridge’s Bright Young Thing award in 2016, a campaign aimed at promoting young, creative entrepreneurs much like herself that strive towards a place in the art world and attention of their workings. With the magnetism of her designs and freely discussing her intentions to promote sustainability, it’s unsurprising that someone such as Jones is able to draw in such appraisal with such clear, eco friendly branding given that Katie’s compassion for the ecosystem is what allowed her to form her own style Amongst her success and well earned reputation, there is a woman with concern for the earth and our environment, a shared worry with many other piers of her age demographic. Consequently, this is the area she thrives the most in on a social level as someone who redirects her success into attention and care for sustainability, leaving her message clear that her concerns lie outside of business talk and instead is grounded in the reality of the current state of the world and the need for action.

Between Katie Jones’ notable bright works and the strong interest in recycled and sustainable clothing and textiles, my attention was left undivided as with many others having found her creations and drive inspirational as a young artist. Here we have someone who is otherwise average and equally as human as the next, leaving her as an example of the capability any equally as driven individual is capable of.

Photo by Rachel Manns

The Effectiveness In Recent Art Scenes Expressing LGBTQ+ Identity

Art has always been a source of freedom and has inspired new visions, often by the expression of revolutionary ideas and introducing questions to meditate on change within our society. There is indeed a radical and inspiring personality of art, alongside a fluidity that lets numerous demographics express vital aspects of their existence. Naturally there is a wide array of LGBTQ+ artists, a collection of queer creatives that open up on their lives ranging from experiences of love and relationships, the facets of gender, the deep history of the community, all the way to the violence, discrimination and hardship faced. This essay will aim to look at current artists who are apart of the LGBTQ+ community and their diverse experiences. Moreso, we will be focusing on expression of the artists in the community within historical and current context, and finally concluding on how art functions within the community to represent themselves. With this in mind, the mediums will be subjective based on the artists choice, as this essay is primarily focused on comparison and demographic. Comparisons with historical pieces will be briefly made, but solely for contrast as we are fixed on the modern queer art scene.

Prior to the twenty-first century, knowledge of artists whose lives intertwined with the LGBTQ+ community would be left to speculation. Artist such as Frida Kahlo[1] and DaVinci[2] would be left to question, with many more left silenced by their societies with their art and other historical records only left to re-contextualise their work. It would seem that even early contemporary history would leave many restricted, a mirror onto historical attitudes of non-normative behavior. This reflective nature of art would parallel the energy and zeitgeist of the times, as highlighted by famous modern artist David Hockney through his work of the sixties such as his ‘Man in Shower in Beverly Hills’ painting[3] – Hockney’s works capturing the steady rise of fearlessness that in the late sixties would amount to the stonewall riots[4]. Historically, the use of art as a tool to communicate queer identity has remained possible, albeit it’s potential nowadays is aknowledged more than previously[5].

Photography by Naima Green

One vital subject to discuss is the contrast of how aged contemporary queer art compares to the current understanding of queer identity and its relevancy to current communities in the LGBTQ+ demographic. When discussing remembered queer artists, said discussions circulates around tight and accepted forms of representation. It is arguable that contemporaries made themselves palatable to a dangerously heterosexist and cissexist society by the deliberate ambiguity of representation in their work, and further with the continuations of these systems into our current time, a blurring of presenting their work in media[6]. There was a restriction on sexuality, an enforcement of a gender binary – little room for queer people’s expression. This lack of available explicit representation has left a cavity in discussing the nuances of queer identity alone. However with the march of time and arrival of our present, the topic of the LGBTQ+ community in multiple forms of media has become more liberated, including the realm of art.

Now, within the twenty-first century, queer identity and it’s community have come to the forefront of mainstream discussions and with it the ability for LGBTQ+ individuals to access and communicate on a larger scale through the medium of art. Alongside this wave of representation comes intersectionality with queer people of colour and nuanced discussions around lesser represented people within the community. A bold example includes Fabián Cháirez[7], a gay Latino who cross oil paintings that reimagines Latin-American masculinity within a more explicitly queer lense, much of which causing a stir in Mexico[8]. Similarly we have the ever growing recognition of photographer Naima Green[9], showcasing the limitless and fluid realm of queer expression, bringing awareness to transgender and nonbinary people and breaking down concepts of gender stereotypes and identity. Being African-American herself, Naima Green too successfully includes numerous racial and ethnic identities within the work of her subjects. This inclusion remains vital for the community as to ensure the awareness of how complex queer identity is and to allow the observers to appreciate such a unique and complicated community. Lists and articles online and on numerous media sites around the intersectionality of the LGBTQ+ demographic have been soaring[10], a loud and unignorable example of how recent modern art has flourished in it’s liberation of expression for these people.

Thus far we are able to assert that there has been a growth in LGBTQ+ representation from queer artists, and that the artworld is broadening through this increase in diverse artists. Yet, has the art scene been effective in allowing this groups to be explicit? What borders still exist in the art world that is limiting this communication? With queer identity coming to the forefront of our society, we are faced with the impending force of rainbow capitalism[11] – the community therefore becoming commercialized and the subjects of LGBTQ+ identity evolving into a consumable subject for modern outsiders of the community. And with the domination of conglomerate companies[12] and businesses in the modern market by the tool of integration[13], there are numerous instances wherein the queer art scene easily becomes a target for those conglomerate powers to prey upon through.

Art by Fabián Cháirez

Similarly, the art critic John Berger otherwise illustrates the methodology of capitalism within art; “contemporary advertising utilises the skills of artists and the latest artistic techniques merely to sell things for consumption in a capitalist market”[14]. Here it is apparent that Capitalist society holds no genuine intention towards the betterment of LGBTQ+ artists, rather the narrative of utilizing oppresses people for their label is highlighted, as Karl Marx also affirms “The object of art, like any other product, creates an artistic and beauty-enjoying public. Production thus produces not only an object for the individual, but also an individual for the object” – here Marx affirms that under capitalism, the minority classes become objects themselves by the control of upper class companies. Here rainbow capitalism transforms the progressive and fighting queer into a tool and thus the community becomes jepordised by the bastardisation of the artists intentions as their art is mutated from a form of communication and expression to an item intended for ownership. This system furthermore only traps the LGBTQ+ community and enforces the authority of cissexist and heterosexist hegemony over the demographic, further censoring and distorting the community in an effort to subdue any radical power from the queer demographics.

In conclusion, we must not only celebrate but also embrace the massive growth of queer artists as well as the huge growth in an array of LGBTQ+ artists gaining recognition and pushing to be heard. However, there must be a greater scale of critical thinking when considering the threats towards the community and how the powers of our cis-heteronormative society restricts these forms of representation. The sum total of this essay thus confirms that indeed, the art scene itself proves effective in expressing LGBTQ+ Identity, whilst also emphasizing the lurking threats within the art market and how there is still a fight to be had with authority that suppresses and limits these artists and their community.

 

Bibliography:

[1] Frida Kahlo (1907-1954) – Queer Art History – www.queerarthistory.com

[2] The Queering of Leonardo da Vinci – www.Quadrant.org.au

[3] ‘Man in shower in Beverly Hills’, David Hockney, 1964 – www.tate.org.uk

[4] Stonewall then and now – www.news.harvard.edu

[5] Challenging the Canon: How Artists have Raised LGBTQ+ Awareness Through Art – www.theartling.com

[6] A Recent History of Censorship of LGBTQ Art – www.observer.com

[7] Fabián Cháirez | Biography – MutualArt – www.mutualart.com

[8] Protesters Storm a Mexico Museum Over a Painting That Depicts Revolutionary Emiliano Zapata Nude (and Wearing a Pink Sombrero) – www.news.artnet.com

[9] Pride Spotlight: Photographer Naima Green Is Documenting the Afro-Queer Present – www.observer.com

[10] Works for the Now, by Queer Artists of Color – www.nytimes.com

[11] What is Rainbow Capitalism and Why is it Harmful? – www.lgbtqandall.com

[12] conglomerate – www.britannica.com

[13] ‘The Cultural Industries’ written by David Hesmondhalgh

[14] ‘Ways of Seeing’ written by John Berger

[15] ‘ A Contribution To The Critique of Political Economy’ written by Karl Marx

 

Artist – Photography – David Lynch

David Lynch can be more easily recognised by his mediums of video and painting. However, a great asset to his work includes his use of photography. Like with the rest of his work, his photos and visuals take on dark themes both literally and metaphorically. In his series titled factory photographs, Lynch continuously uses a monochrome colour palette. This alongside his choice of dreamy and eerie visuals crafts his work into visuals that are easily recognisable as his own, his renowned lynchian styles being visibly apparent and therefore all the more unique and alluring. It will be detrimental to this discussion to not include the nature of his video visuals. When viewing ‘Twin Peaks’ the series, there are noticeable contrasts to his photography including the use of colour and a clear sense of time as to compliment the plots setting within late eighties to nineties. This is as far as his work will stretch to practically however, with symbolism littered throughout his series. The more lighthearted aspect of his work pertains around the American dream and the falseness of the Americana, as David’s work quickly spirals into darker visuals that interlink with the plot and themes. The inspiration of American soap operas is made apparent by his choice of characters costuming and dramatic nature of the plot which is paralleled with additional counted angles and all distance shots of violence, the horroresque aspects of the series saturated to emphasize Lynch’s own distaste for normalizing violence. However his surrealism isn’t limited to purpose as he relishes in keeping much of his intentions behind some of his aesthetic choices vague, as evidenced in the second series which levels up the surrealist imagery by use of obscure and unseen technology and pseudo landmarks. Laurel is clearly apparent that David Lynch himself is a master of the obscure and of surrealist visuals, which is something that is greatly inspired me when thinking over and creating my own work within photography.

Commentary – Photography

When viewing my work, I can with great certainty confirm my photos meet bot aesthetically and symbolically the criteria I was hoping to obtain for my take on identity. The visuals themselves are typically dark as obtained by a combination of lighting and editing. Said editing for the work overall required colour saturation – namely on the colder end of the spectrum, removal of original colour to then add on different colour and shade, and saturation of shadows. The subjects consists of parts of myself yet are obscured to interlink with the detailed nature of identity, yet their newly transformed colour palettes and added effects indicate a morbid perspective on the self. My critique of these photos however is limited by the subjects as well, as a focus on other external subjects I feel could have helped in testing and strengthening my creative range.

Concept – Photography

When thinking over the concept of identity and selfhood, there are many ideas that come to light. For myself, it was the fascination of investigating a sense of identity as a limitation, something restrictive. This philosophy brings with it experiences and themes that would otherwise be rarely discussed aspects of the self – namely existential dread and enigma. The nihilism of this lack of self, of the experience of identity disturbance, will inevitably invite fear and discomfort – a convenience for taking on a darker artistic rendition of the concept of identity. With this take, I aspire to inflict onto those observing vital questions about their self perception, to instill the understanding of our mortal limitations, to humble and yet to comfort.

Textile designer – Sarah Zapata

Sarah Zapata is a latina textile designer. She had been raised within Texas with an evangelical mother, living most of her youth surrounded by religion and the expectations her conservative and religious background brings. It would be through this context we come to understand the intention of her work and part of what inspired her artistic drive. Sarah has openly discussed how the perception of her work as traditionally feminine has encouraged her to expand the scale of her pieces, expressing her bold attitudes regarding her pride as a woman and the willingness to turn her art into an invitative statement. It is through this dual use of traditionally feminine concepts to present a radically feminist approach that marks Zapata’s work as indifferent and refreshing. Indeed, Sarah’s masterful use of textiles in their vibrancy and volume is what has inspired me to write of her in hopes of promoting her unique perspective of working with textiles and the subtly powerful suggestions of her works.

 

Fashion designer – Zaldy Goco

Zaldy Goco – named as Salvador Goco – is a well renowned gay Filipino fashion designer. He had spent his twenties studying design and later specialized in fashion design within the decade of the nineties. Much of his experience with the fashion industry came from his modeling career, walking the running in women’s and men’s clothing, including the works of British fashion designer Paul Smith. He has close ties to the drag community, having dressed in drag for a Levi’s advert and later would work consecutively for Ru Paul, making numerous outfits and dresses for the famous drag queen since nineteen-ninety two. His work has been additionally worn by lady Gaga, and he has consulted Gwen Stefani with her work. Overall Zaldy can be clearly perceived as a successful man, throughout his life remaining dedicated to his work. Goco’s creations when examined are indeed worthy of the praise given. Goco’s skills are exhibited by his main work for Ru Paul – from an excessively detailed catsuit, to the vibrant and abstract nature of his met gala suite. The flamboyancy of Zaldy’s art presents itself as the key to his success, designs that come from the experience of working within the expressive and wild realm of ballroom culture that even stars such as Lady Gaga express on stage, making Zaldy Goco a valuable member in the creative aspects of the queer community – and this a fashion designer more than worthy of recognition and applaude.