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.

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.

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.

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.

Learning to use a sewing machine:

Using 3D shapes for design/form:

Folding fabrics and using mannequins:

Using outlines with surroundings: