Wearable Art Research Articles

YORGANLAMA ZANAATININ MODA VE GİYİLEBİLİR SANAT İÇİNDE UYGULANABİLİRLİĞİNE DAİR BİR ÖRNEK ÇALIŞMA “BAŞKALAŞIM MUCİZESİ SERGİSİ”

While contemporary production emphasizes speed and technology, it also retains a certain fascination with the traces of craft-centered living from the past. In this vein, designers in the fashion world have been integrating pieces into their collections that reference traditional crafts and reflect the qualities of handwork. These handmade elements, filtered through past traditions, can create design opportunities when handled with appropriate references within contemporary fashion and art. One such element is the art of quilting, a significant part of our culture, which offers contemporary possibilities for fashion with its aesthetics and propositions from the past. This study will examine how the art of quilting is handled within the context of design integrity. The two different lives of the dragonfly, which are featured in the exhibition "The Miracle of Metamorphosis," are expressed through design applications within the framework of wearable art. The study focuses on the first part of the exhibition, which tells the story of the dragonfly's first life, spent hidden under its shell underwater. The shell is conceptually considered as a quilt, a shield, and a shelter, with the meaning of "a covering, hiding, protecting, and sheltering cover." This work, expressed through the art of quilting, reflects the experiences of measurement and form in a way that is consistent with design integrity. It also demonstrates that the art of quilting, which is typically applied to two-dimensional surfaces, can be adapted to three-dimensional garment forms. Keywords: Wearable Art, Fashion, Quilting , Traditional Craft, Slow Fashion.

Reviving, Reinventing and Rethinking an Indigenous Luxury Textile: Piña Cloth, and Fashion in the Philippines

Piña cloth, or textile woven from the delicate fibers of the pineapple plant used to be the epitome of luxury and high fashion in mid-nineteenth century Philippines. The weaving and wearing of piña experienced a rapid decline largely caused by the influx of British cotton textiles so that by the last half or the 20th century it had all but disappeared. This article analyses the history of reviving piña and its afterlives. It argues that reviving piña resulted in re-inventing new blended forms of the textile (with silk, cotton, and linen), and creating new ones such as piña shifu. Because these blended varieties are cheaper and faster to make, piña has been democratized. The revival process has caused a re-thinking of piña to make it “modern” and “chic”—from adding color to it (as traditionally it was worn in its natural ecru color), turning it into casual or everyday wear, and painting on it to make it wearable art. Finally, the revival project has also altered the status of weavers and challenged gender norms.

Exploring the Application Research Between Scars and Wearable Art

The research has been all about evaluating the link between scars and wearable art. The scope of this research is quite broad, and it helps people to explore positions from different perspectives. For this purpose, secondary data intervention with the help of qualitative data has been provided. The focus towards secondary data collection has involved the contribution made by victims of certain scars. This paper explored the relationship between scar and wearable art from different cultural backgrounds, medicine, anthropology, philosophy, psychology and other fields. However, it has been depicted that the link between scars and wearable art is quite strong. Still, there is a certain degree of complacency and dependency on external factors such as the perception of the society and element psychological well-being of the entities. Moreover, gender-related factors and the role of age are also very important in the impact of wearable art, and social pressure and social support also play an important role.

Exploring the Application Research Between Scars and Wearable Art

The research has been all about evaluating the link between scars and wearable art. The scope of this research is quite broad, and it helps people to explore positions from different perspectives. For this purpose, secondary data intervention with the help of qualitative data has been provided. The focus towards secondary data collection has involved the contribution made by victims of certain scars. This paper explored the relationship between scar and wearable art from different cultural backgrounds, medicine, anthropology, philosophy, psychology and other fields. However, it has been depicted that the link between scars and wearable art is quite strong. Still, there is a certain degree of complacency and dependency on external factors such as the perception of the society and element psychological well-being of the entities. Moreover, gender-related factors and the role of age are also very important in the impact of wearable art, and social pressure and social support also play an important role.

Caitlin Vincent, Digital Scenography in the Twenty-First Century, Ashgate Interdisciplinary Studies in Opera - Caitlin Vincent, Digital Scenography in the Twenty-First Century, Ashgate Interdisciplinary Studies in Opera Abingdon: Routledge, 2022. 212 pp. ISBN 9780367553920 (hard cover). DOI: 10.4324/9781003093305 (ebook)

It is June 2022 and the premiere of R.U.R. Torrent of Light, a multimedia opera, in Toronto is enthralling audiences. Inspired by Karel Čapek’s play that introduced the word ‘robot’ into 20th-century vocabulary, composer Nicole Lizée and librettist and playwright Nicholas Billon have conceived a science-fiction opera for our current fascination with AI (artificial intelligence). The production by Toronto’s Tapestry Opera Theatre is in partnership with the research and creation of new technologies at the Social Body Lab and the Digital Futures Initiatives at Ontario College of Art & Design University. It has been conceived to embed technologies into the scenographic dramaturgy as projections, wearable art and spatialisation of sound and light through the costuming and neologisms in instrumentation to create a ‘unique electronica-classical sound’ of the neo-futurist worlding. After the hiatus of the last two years, this live performance highlights our growing recognition of scenographic vocabularies of programmable performance affecting behaviours, as well as expanded definitions of sound and digital integration as contemporary opera. Such interdisciplinarity has often brought the spectator into fresh relationships with opera in performance, thereby activating the event of spectatorship.

Punk Fashion as a Wearable Art Mask

This research analyses how punk fashion influenced wearable art masks, detailing their artistic characteristics. Investigating the use of punk style in creating masks, it explores its diverse role in spirituality, performance, and self-expression. Artists utilised masks as a means of self-representation outside of the punk subculture, using diverse materials and techniques. This study describes the integration of punk identity into wearable art, showcasing experiments with waste materials and ready-purchased materials. This discovery highlights the innovative use of materials and techniques in making mask sculptures, contributing to understanding the fusion of punk fashion with wearable art.

Donning the Imaging Gown: Enchanting the Ill and Pregnant Body in Art.

The hospital gown is a particularly charged article of clothing. For the chronically ill and disabled, the ritual of donning the gown signals a change of identity from "person" to "patient." This essay chronicles the metamorphosis of a standard hospital gown into a work of wearable art that showcases the glittering pregnant body. Rather than thinly shrouding nakedness, this gown reveals the nude, gravid, and disabled figure as not only worthy of artistic concentration, but full of wonder and enchantment. This work emerges from the author's decade-long collaborative practice with her sister, Devan Stahl, as her experiences living under the medical gaze are compounded in the pursuit of motherhood. The Imaging Gown takes up past and present visual cultures of medicine and re-presents them with sublime sensibilities that affirm the patient perspective.

A new age technique: In the ecosystem of mixed media in jewelry design

Over the course of its long and complicated history, the meaning of “craft” has changed many times, depending on intersecting social and cultural factors. Craft has been used into art instruction in a variety of ways. Surprisingly, interest in craft has developed only outside of a formal school setting. Wearable art is equivalent to haute couture in terms of fashion. Both haute couture and wearable art are one-of-a-kind items that can be manufactured for a specific consumer. This research is based on the study of a new material called ‘Polymer Clay’. It is a soft material which has multiple uses and can be used in many ways to create beautiful artworks. Polymer clay is made of plasticizers which once heated converts to a solid shape.

THE PLACE OF CERAMIC MATERIAL IN THE FIELD OF WEARABLE ART AND AN APPLICATION OF CERAMIC JEWELRY

Although the wearable art movement, which started to develop in the late 1960s, started with clothing, today accessories are also used as an artistic narrative tool. Wearable art movement; By destroying the general belief that art is limited to sculpture or painting, it allows the human body to display the work of art by animating it. Today, this trend actively continues its continuity in the line of designers, craftsmen and artists (Onur, 2020: 231). Accessories, which started their long adventure from the past to the present with materials such as stone and bone, began to be seen and used as status symbols with the use of precious materials such as gold and silver in their production. All accessories produced throughout the historical process not only reflect a large part of the culture in which they were produced, but also provide important information about the period in which they were produced. The fact that the material limitation used in the production of accessories has disappeared, has paved the way for the accessories, which were used as a status indicator in addition to their aesthetic appearance in the previous periods, to be used as a means of expression, just like a work of art. The increase in the variety of materials that can be used in the production of accessories over time has enabled the designers to be free in terms of creation, production and expression (Yeşilmen, 2018: 1251). It can be seen that there are many advantages offered by ceramic materials in the production of accessories with ceramic materials in the field of wearable art. Due to its ceramic material structure, having superior plastic properties, it offers freedom of expression to the designer in the field of shaping. In addition, when it is fired at high temperatures, it provides the user with an advantage in terms of aesthetics and durability. Ceramic material conforms to the structure of both traditional forming methods and new generation technological forming methods. In line with all these features, ceramics is strengthening its place in the field of accessory production as a means of artistic expression day by day. In this article, different productions produced using ceramic materials in the field of wearable art were examined and an accessory example was applied using a three-dimensional ceramic printer.

A suggested procedure for wearable art design from Paul Klee's paintings

This paper reveals a suggested approach that designers can emulate when choosing techniques that express the aesthetic values and concepts inherent in paintings and applied in wearable art. Some of the paintings of the abstract artist "Paul Klee" were used as an example in this research, where the main problem faced by the researcher was to find a compromise that could bring the original artwork from the walls of museums to the ground in a way that would be accepted by the ordinary public without prejudice to the artistic values that the employer wanted. Accordingly, the researcher's first task was to find a way to preserve the original message that the owner of the artwork wanted when designing a piece of wearable art.Understanding the original artwork from some publications that dealt with his criticism and then analyzing it artistically by the researcher himself, in addition to studying the advantages of some techniques used in wearable art through the works of some artists, the researcher implemented (4) Pieces of clothing that each of which expresses an original piece of art by Paul Klee, using techniques such as (edge engraving - straight hand sewing - and digital embroidery). Typography), and the results showed that appropriate artistic techniques, expressive materials and design lines can be chosen by determining the artistic value of the artwork through the method. , Emotion, story or theme in addition to analyzing paintings according to the components of the artwork (line, space, color, composition) and the artistic values of the drawing (dimension - contrast). This proposed path allows for the transformation of the artwork into clothing products acceptable to the community and thus spread cultural awareness. Among the segments of society.

Wearable art in Fashion Draping (An innovative design vision inspired by the COVID 19 pandemic)

Wearable art is considered as the visualization of a unique artistic product that can be produced by a fashion designer. The method of work entails that the designer writes a story inspired by wearable art, based on a starting point and keywords, then design and implement the costume. Innovative thinking is one of the most important roles in designing Fashion as innovation is necessary for access to creativity in order to have draped fashion of authenticity that has never been reached before, where the designer's thought, emotion, cultural and formalistic knowledge can be transformed into an innovative and stereoscopic product using fabric or any other materials. The Coronavirus (COVID-19) recently emerged is seen as threatening epidemic spreading across the world . So, with its emergence, it is noted that face or muzzles has become the common keyword . Therefore, it was deemed by the researcher to deal with masks as formative material through which a design in the draping style could be created. The research problem was as follows: What is the potential of making use of paper masks in preparing an innovative, wearable artistic design in the draping style? And to what extent can the aesthetic, artistic and functional design be achieved from the specialists' point of view? The research aims to take advantage of medical masks in preparing an innovative artistic wearable design in the style of draping, so that the innovative and artistic value can be reached through that design with the method of draping. The importance of the research is attributable to demonstrating the impact of the COVID-19 pandemic on the designers' and researcher's method of design thinking, and then highlighting new prospects and ideas for inspiration in draping, as well as achieving new artistic dimensions in the field of wearable art. This research adopted the semi-experimental approach for its suitability to achieve the objectives of the research. Through the arbitrators' response to the items of the questionnaire on the design, and the research hypothesis stating that there are statistically significant differences between the averages of the specialists' opinions to achieve the aesthetic, artistic and functional aspects in the proposed design. The results demonstrated the achievement of the research objectives in employing the aesthetic, artistic and functional aspects, and had an approval rate of 95%, which is a High positive percentage that indicates the achievement of the aesthetic aspect. As for the functional and artistic aspects, their approval rate reached 82.5%, which is a high positive rate indicating their achievement. After calculating the general average ratios for the aesthetic, functional and artistic axes, it becomes clear that the design had a rate of 86.66%, which is a high percentage showing the success of the design. This success may be due to the emergence of the inspiration aspect of the Corona pandemic, along with the compatibility of materials and their colors with each other, in addition to the design's achievement of authenticity and contemporary at the same time.

A Local Motif; Use of kōwhaiwhai patterns in printed textiles

This paper considers the role of patterns derived from kowhaiwhai in printed textiles, and how these have been used to project a national identity. Kowhaiwhai refers to the design traditionally used my Maori (the Indigenous people of New Zealand) on parts of meetings houses, canoe paddles, and other painted objects. Although kowhaiwhai art has developed to include figural representation, it is the curvilinear decoration based on the natural forms of koru (fern shoots), kape (crescent), and rauru (spiral) which has become a distinctly recognizable “New Zealand” pattern. Situated in the meeting house, kowhaiwhai designs have a style and meaning which are specific to their iwi (tribe) and locale. Kowhaiwhai is not traditionally a form used in textiles, but its graphic style naturally lends itself to print and pattern. Textiles featuring kowhaiwhai have been used to celebrate and assert cultural identity, even when made by Pakeha (people of European descent) or manufactured outside New Zealand. A visual shorthand for “New Zealand-ness” in a global setting, kowhaiwhai designs appear in sports uniforms, international beauty pageant outfits, wearable art costumes, and in the uniform of our national airline. This paper will investigate how removing designs from their original context and placing them on wearable/usable objects is not necessarily a clear-cut case of appropriation. I will also explore the developments which have shaped New Zealanders’ awareness of Māori art forms. In particular, 29 meeting houses rafter designs copied by the Rev. Herbert Williams in 1897 (and widely published by ethnologist Augustus Hamilton) have formed a kowhaiwhai “source book” which has influenced the style in common use. In the early 20th century, politician Sir Apirana Ngata played a key role in promoting the cultural renaissance of Māori art, visible in the widespread adoption of Māori motifs in a variety of applied arts, including textiles.

PERANCANGAN PAKAIAN READY-TO-WEAR WANITA DEWASA MUDA MENGGUNAKAN KAIN JOGAKBO UNTUK BRAND VIRA PUSPITA

“ DESIGNING READY TO WEAR CLOTHING FOR YOUNG ADULT WOMAN USING JOGAKBO FOR THE VIRA PUSPITA BRAND” K-pop phenomenon or hallyu wave in Indonesia had grown in significant pace since 2000. This affects Indonesian’s youth on many aspects, especially in fashion. This could be proven due to a lot of designs bears resemblance to Korean’s design themes, such as Korean patchwork or jogakbo. Jogakbo is a form of traditional patchwork from Korea which is usually used by Koreans as a wrapper for various objects or a form of clothing. Nowadays at the moment, Jogakbo is re-introduced/ re-invented in fashion world as a wearable art which the patchwork was made as if it is an art. By analyzing the market demand in Indonesia, which is quite large, Vira Puspita brand decided to take on jogakbo as a main concept which will be presented in ready to wear collection for fall/winter 2018/2019. With the main purpose of introducing jogakbo to Indonesians as well as a media to give it appreciation towards Indonesia’s art and culture.

A Romanian-French Season

Starting from the deep artistic relations between Romania and France, this project aims to highlight the current methods of visual communication through fashion and the multiple connections established by costume design with other artistic fields. Today, communication through images, and especially through human image, represents a particular pursuit, fashion being an expanded, highly promoted domain with huge addressability to the young generation. The celebration of the two great events, namely the formation of the Romanian national unitary state and “The Armistice Day” that marks the end of the World War I, inspired the Fashion Design Department to come up with a series of creative themes. The tasks proposed by the teachers led the students to various explorations: from the runway collections to the performance costumes, from clothes gathered in art installations to garments as works of art. Therefore, students were trained to create commercially valuable pieces, but also wearable art for a series of unconventional experiments integrated into contemporary art. This complex project concluded with five different collections, unitary through their artistic message and value: Malmaison, Looking up to Dubuffet, Hasard, Blue Consensual and La Petite Robe Noire. The exploration of these subjects involved gathering extensive documentation about the 20th century artistic avant-garde, as well as a personal point of view on the different characteristics of the European cultural interference. The study contributes fundamentally to the development of each student's creativity.

Inspiration From Chinese Painting: A Feasibility Study of Using Chinese Ink as Pigment Colorant for a Wearable Art Collection

Pigments are the most commonly used colorations, due to their ease of accessibility, and have been used for textile printing and pad-dyeing processes for many decades. This research on pigment dyeing was conducted as part of a wearable art design project inspired by the techniques and aesthetics of traditional Chinese painting. To preserve the spirit of the Chinese paintings, silk and cotton fabrics were used in submersion pigment dyeing and direct painting experiments with Chinese ink to determine their color strength, colorfastness, and fabric properties. Due to the results, the researchers were confident in the viability of using Chinese ink as the pigment colorant for dip dyeing and direct silk painting in the wearable arts. This research was also intended for students and designers as an example of how to use practical concepts of textile testing in innovative apparel design projects.

The Suitable Fabric for Thai Art Folding of Banana Leaves on Clothing

Thailand has a uniquely long-standing tradition of arts and crafts. Thai art folding of banana leaves, probably the best-known such as food wrappers and precious handicrafts has been practiced to make colorful decorations for festivals. As time passed, roles of using parts of banana have been reduced but there has been an attempt to help conserve it only some art and craftsmanship. This research will study and analyze about Thai art folding of banana leaves, the folding technic from art and design, product and fashion for diversity of folding. Furthermore, Fabric is the key of this research to know the type of fabric suitable for folding. Thus, the experiment and practice show the fabric qualification by selected 9 properties included 1. Good stability 2. Good draping 3. Heat resistance 4. Smoothness 5. Balance 6. Wrinkle 7. Stretch 8. Strong 9. Soft with the wearable fabric are 1. Natural Fabric 1.1) Cotton 1.2) Linen 1.3) Muslin 1.4) Jute 1.5) Ramie 2.Man-made fabric 2.1) Polyester 2.2) Nylon 2.3) Organza 2.4) Satin 3. Blended Fabric 3.1) Cotton Spandex 3.2) Linen Viscose. The result is Polyester, Cotton Spandex and Linen Viscose respectively suitable for folding. In conclusion, the purpose of this research compiles the theory, technique, and method of Thai art folding of banana leaves. Moreover, the many types of folding technique from Thai art folding of banana leaves for clothing construction that can be a guideline and modified in the next stage for designers who interested in craftsmanship, culture, and tradition. Then, to create the guideline from the Thai art folding of banana leaves. Finally, the wearable art by using the clothing construction guideline from the Thai art folding of banana leaves.

GEOMETRİK DESEN VE BLOKLARIN KIYAFETLERE UYARLANMASI

Nowadays, the consumer's wishes are taken into consideration in the fashionable preparation of the clothes. People who prefer a dress as well as beautiful dress, color, harmony, line, shape and shape give importance to the whole. That is why the customer's wishes are felt as a decisive criterion in clothing products. This motivated the designers and led them to different quests. Some of these were wearable art applications of geometric shapes. Using geometry in fashion enables the formation of a conscious fashion audience and reveals the existence of different, unique designs, and demonstrates the positive approaches in the results of interdisciplinary interaction. It is possible to see these effects in terms of geometric fashion especially through shapes, patterns, forms and ornaments. Thanks to geometry, based on human and human measurements, the material is brought into three dimensions and is constructed on the body to form structural structures. In this study, 9 designs were made by using geometric shapes and these designs were dressed on a lifeless mannequin. Individual model analyzes of these designs were made and information was given about the model and the materials used. As a result, it has been tried to ensure that geometric forms are combined with design and moved to a different dimension. In fact, it is aimed to draw new and original designs inspired by geometric patterns and blocks which are in our daily life.

But Seriously, How Long?

But Seriously, How Long? Marilyn Kallet (bio) How Long is the Present: Selected Talk Poems of David Antin David Antin Stephen Freedman, ed. University of New Mexico Press www.unmpress.com/books.php?ID=20000000005791 408 Pages; Print, $36.56 I first met David Antin’s work in 1968, when I was a suffering graduate student in Comp Lit at Rutgers. Jerome Rothenberg’s anthology, Technicians of the Sacred (1968) came into my hands, and life changed for the better. Instead of the canon that was force-fed to us, here was new life-blood, the oral tradition––past, future, worldwide. In the commentary section, we hungry readers found contemporary American poets who were energetic and innovative, who challenged the staid traditions of “forefathers.” I have taught work from Rothenberg’s anthologies in my classes ever since. I always offer David Antin’s translation of André Breton’s “Libre Union” (1931) (“Free Union”) to workshop poets; it still hits like a revelation. In the context of world poetry that drew on the oral tradition, Antin never seemed like an outsider. His work was at home among tribal poets, sacred clowns, and shaman. Entering at the back door of Technicians, Antin’s poem, “From Definitions for Mendy” (1965) offered an elegy and companion piece to “Free Union.” Antin’s translation of Breton and his own elegy-chant in Technicians are poems of process, fugues rather than architectonic set pieces. Predictive: his lyrics then and now spin like cosmic wheels; they draw on images that proffer themselves and are provisionally accepted––resonant place-holders rather than poems built like houses of worship. Antin’s poems discover big and little truths as they go. As he wrote in “Mendy”: we must go down into ourselvesdown to the floor that is not imaginarywhere hunger lives and thirsthunger imagine bread thirst imagine water Poets can be truth-seekers or Tricksters––sometimes both. David Antin does some fine tap-dancing with language in How Long is the Present: Selected Talk Poems of David Antin; I think his work locates itself firmly in the company of truth-seekers. Yet his Trickster side is also agile; his wry asides remind the reader of Woody Allen––without the child molestation charge. A savvy article placing Antin in the tradition of Jewish comics and Talmudic scholars can be found online in Tablet, “Talmudic Improv: A Visit With Poet David Antin” (2015). How Long is the Present embodies Antin’s ongoing poetic inquiry into what thinking aloud rhythmically can uncover. The long poems gathered here were originally performed as improvisational “talk poems” during the period from mid-1970 to the early 1990’s. How do these poems read in print, without the stage, microphone and amps? The book challenges a reviewer, as it is large and varied in its threads. Reviewers, like academics, like to categorize. This book resists. As I commented to my friend, “Reviewing this book is like reviewing the Grand Canyon in varied seasons and weather.” I can also picture this dynamic language as a waterfall of words and light such as what we experience at the Civil Rights Museum in Montgomery, where “Justice Rolls Down like Waters” in a light show of names (supporters of civil rights; a panoply of names that changes every second). At times, this language feels material, like fabric. Its rhythmical pauses create the impression of woven cloth, of wearable art. I wasn’t surprised to learn that Antin had previously written about material culture, museum culture. I told my friend that the pauses in Antin’s book remind me of skywriting. At once solid and evanescent, these “beautiful [End Page 18] contradictions” are enfolded in Antin’s book. The title, How Long is the Present, lets us know immediately that the poet is investigating the nature of time and art, as did French philosopher Bergson, when he posited a notion of “durée,” the qualitative time of art (1889). Proust took up Bergson’s idea and embodied it in his great project, A la recherche du temps perdu (1913-1927). Like Proust, David Antin explores the experience of inner time. How...

Appropriating the Mola: Forms of Borrowing by Textile Artists

Mola panels, made of layers of cloth, are a well-known souvenir and collectible internationally. A pair of rectangular mola panels form the back and front of a mola blouse and are part of the dress of an indigenous American Indian people, the Kuna (Guna), who live in Panama and Colombia. While the mola may be considered a form of wearable art, it has become a source of inspiration for contemporary Western textile artworks. The techniques used by Kuna women to sew mola panels – surface appliqué, reverse appliqué and embroidery – have been imitated, adapted, and transformed by textile artists, often as an evolving practice. The global influence of the mola is demonstrated in case studies of the work of six textile artists: Tsuyako Miyazaki (Japan), Fumiko Nakayama (Japan), John Corbett (Australia), Charlotte Patera (US), Christel Walter (Germany) and Herta Puls (UK). The works reviewed, stitched from the 1970s until recent times, are considered in terms of visual organization, color palette, materials, design motif, scale, sewing techniques, intent (meaning to the maker) and display qualities. The individual strategies of artists in responding to sources of inspiration originating from non-western cultures are considered along a continuum from imitation, through adaptation, to transformation.

Marsh Marigold by Tim Harding

Tim Harding, born in Houston, Texas, in 1983, received his BFA in 2008 from Texas Woman's University in Denton and his MFA in 2010 from Texas Christian University School of Art in Fort Worth.1http://www.texasbiennial.org/TX11_gallery_guide.pdfGoogle Scholar While studying art at the university level, Harding focused on painting and photography but discovered an interest in and attraction to fiber arts, a genre dedicated to use of plant, animal, and man-made fibers. One of his favored specialties includes wearable art, and he has found inspiration in the kimono. Harding currently resides in Stillwater, Minnesota, with his wife, Kathleen, where they maintain the Tim Harding Studio. Harding has extensive museum and corporate collections that can be found throughout the United States and Asia.2http://www.timharding.com/th/about.htmlGoogle Scholar Marsh Marigolds, a 30×50-inch assemblage, is constructed of cut silk in varying hues of orange, yellow, and green that lend an amazing reality to the floral image. There is an almost trompe l'oeil effect (art that deceives), and the magic of the realism is not fully laid bare until the viewer approaches within an arm's length of Marsh Marigolds. Silk, the main medium in Marsh Marigolds, is a textile that is considered highly extravagant and elegant by most standards because of the labor-intensive process required to create it. Thus, it seems a violence or vandalism for Harding to cut it into ribbons and shreds. However, the beauty of the rearranged and reconstructed fabric redeems the process. This is a paradox that Harding likes to explore. He notes the following about his work: There is a culturally ingrained preciousness to fabric. We must not tear, scorch, or soil our ‘good’ clothes. And yet, these textiles have a tempting vulnerability.My work is based on the act of violating this taboo.2http://www.timharding.com/th/about.htmlGoogle Scholar Another close examination of Marsh Marigolds reveals mimicry of an embroidery technique known as smocking that elicits the honeycombed or diamond like weave in the image of the marigold and provides the realism in the petals of the flower. Marsh Marigolds, created in 2007, is located on the 15th floor of the Gonda Building in Rochester, Minnesota. View Large Image Figure ViewerDownload (PPT) View Large Image Figure ViewerDownload (PPT)