No title. Work(s) in progress.

No title. Work(s) in progress

at Salgshallen, Oslo 11 – 27.06.2020

- a kind of reflection

an introspective on a practice a decision was made October 2019 to stop and pause the practice found itself part of the system where it never wanted to belong, which brought it to the verge of stagnation the practice experienced having less and less time to create, to think, to make its own decisions based on own content and values and felt exceedingly trapped by expectations not mirrored with its own reproducing own thoughts and ideas; to reach the deadlines decided, by others to reach a quantity decided was sufficient, by others to sell sell sell the sale aspect became the definition of success or failure everything this practice claimed it was never going to be part of be brave and face up

quit

pause

the practice felt groundless with the sought-after time - a flow of emotions and thoughts erupted the suppressed emerged self-doubt, insecurity, fear of not knowing of not wanting having lost its purpose of being done but time gave space, and slowly the curiosity of the brain awakened rest and slowness re-activated the intellect confident and willfullness re-instated itself and the practice recharged the next chapter - the new practice a change of how to work in the practice its values and content gives definition it operates by its own terms fitting in doesn’t fit ’the practice should be free to express ideas, aesthetics and commentary however suits its purpose best. Its born in fashion. It lives in the today and tomorrow’ the “first” project ’no title. work(s) in progress’ an introspective a deconstruction of the practice of its content isolating its recurring thematics, methods, techniques and value;

look one, Scrunch
look two, Pinstripe
look three, Suit
look four, MMM
look five, Lace
look six, Baby Blue
look seven, Hyperfemi

scrunch – looking back at the beginning where drapery became an obsession; freeing it from its restraining sublimity challenging its position with a certain pre-historic notion on femininity
the ninja bride
your friend in serenity....

pinstripe – another obsession
inherits connotations to patriarchal power
must be destroyed
reconstruct through drape drape drape and sublime carelessness
worn as a two-piece front and back skirt and only that, model covering her breast with her hands, crossed
arms, contributes performativity;
the pinstripe as an active performance piece;
performing power

suit – has become an essential piece of item and point of reference in the practice
an item historically and traditionally belonging to the male
opposing the constructed strictness adding softness and folds
demolishing its masculine notions or belongingness
draping it into a gown;*
dressing undressing dressing with nudity
the boob bra; surrealism and irrationality

MMM – the continuous source of reference
the hero of the practice
she is ominous and airily beautiful, clutching her hairy chest

lace – delicate romantic innocent un-confrontational tacky cheap sexy dominant
making lace out of abundance of lace
trapped anger in a cute and delicate skin
’Fuck you! I am a female and I am angry, loud and active! Cover me in lace and florals and strap me up!
on not being comfortable in mainstream social expectations on femininity

baby blue – dangerously cute she is
cuteness; essential in human evolution and survival value for the human race
girlishness; cute-power

hyperfemi – a sublime destruction of folds!
destructive transformation
a sublime mess of imperfections
playing on traditional feminine codes;
exposing the body and its certain parts
the corset
the silhouette
voluptuous curves
the ladylikeness of a hat
pinks & reds;
the angel and the whore, the girl and the woman
not enough distance yet to reflect on the actual presentation
continuation

by Anne Karine Thorbjørnsen

27.06.2020

Lehmann, U. (2000) ‘Tigersprung: fashion in modernity’.

Lavin, I, (2017) ‘Going for baroque, observations on the post-modern fold’

Gil, A. (2007) 'Deconstruction fashion: the making of unfinished, decomposing, and re-assembled clothes'

Zborowska, A. (2015) 'Deconstruction in contemporary fashion design: Analysis and critique'

Niall, L. (2004) 'A derrida dictionary'

Press release for Angela de la Cruz 'Bare' at Lisson gallery

Figes, L, Shore, A (The art of lying: reclining figures throughout history', Lydia Figes and Andrew Shore