Crinolines and Headpieces is a performative study that explores activating personal/social space with light. Body extensions that interpret both architectural and historical fashion elements into a new, critical silhouette.
Emphasis is placed on the 3dimensions of the human form secured within a temporary structure of light. As a result the buildings as a backdrop appear flattened. The work draws attention to orientations and movements within a personal circumference and highlights an exchange between personal space and public space. References are made to fashions that seek to extend the silhouette:
ARCHITECTURAL HEADPIECE: A reference to elaborate renaissance headdress; The Gable hood, a wired headdress shaped like the gable of a house. Building architectural elements off the human form
The CRINOLINE: A large hooped skirt worn in Victorian times and developed from the earlier farthingale. Women of all classes with enthusiasm adopted the crinoline. It allowed women’s legs to be free from numerous heavy petticoats. It was light and created a large circumference, which surrounded the frame. If we look at basic proxemics, we see that the crinoline pushed out into the wearers’ social space. Therefore, physically maintaining strong personal boundaries.
Walking in the shadows of tall structures – concrete, metal, glass; Concealed by their mass. How does zie have a presence here? How can zie state hir significance? Buildings show off their form with light and highlight their features, entries and exits in the night, attracting attention, providing safety.
An incandescent flicker and the light above hir brow switches on as the sun goes down – Human street light. Zie extends the shape of hir silhouette and makes hirself known to the solid surrounds.
Film produced by Yandell Walton