His work incorporated everything from X-rays and 3-D scanning to hi-tech manipulation and laborious hand-painted retouching. "If I've got a style," says Sundsbo, "it's that I've got no style."
Monday, 25 May 2009
VERY interesting work of Solve Sundsbo
His work incorporated everything from X-rays and 3-D scanning to hi-tech manipulation and laborious hand-painted retouching. "If I've got a style," says Sundsbo, "it's that I've got no style."
Other Steven Meisel's works which are based on fashion and shadows
It shows how much Steven Meisel loves to work with shadows..
Steven Meisel's Prada Fall-Winter 08/09
with Linda Evangelista..Steven Meisel really shows how he really likes to play with shadows..
Steven Meisel's Prada Linea Rossa line Fall-Winter 08/09
another advertising campaign photographed by Steven Meisel where he projected the model's shadow into his photograph...
Steven Meisel for Gianfranco Ferre 2009
Steven Meisel, one of my favorite photographer..!
the concept for Gianfranco Ferre 2009 advertising campaign is quiet interesting, a model wearing an edgy, architectural dress, with a background of plain walls with shadows and silhouettes of the model..
Research Proposal
the title I chose is The effect of Globalization era towards the fashion and lifestyle of young generation in Indonesia: would the traditional art and culture slowly began to extinct?
The reason why I am bringing up the theme of Indonesian Shadow Puppet came from my experience on seeing and observing how Indonesian cultures, which are rich and diverse starting to fade away. The young generations nowadays tend to forget about it and are more interested in westernizing themselves in this globalization era. In a way, this is a good thing, so that they have a broad way of thinking and open to any kind of new development that is happening around the world, as well as a good preparation for the future in building Indonesia as one of developed country. Although, I believe that we must never forget our own culture, especially when they are so rich and diverse, it is important to always preserve and be proud of our own culture. And in this globalization era, I believe that Indonesian should not penetrate everything from the foreign culture, instead, they should be able to combine it with their indigenous customs.
During Easter holiday, I came home to Jakarta and went to the Wayang (Shadow Puppet) Museum. At first I thought it was going to be a large and nicely decorated museum, turns out it was just a small dusty building. It is so sad to see how most people didn’t even know where it was, all the collection were not properly cleaned and displayed, I could see spider webs dangling across many of the Wayang figures, with some of their explanation tags being ripped by irresponsible visitors. It was so dark that people can’t see the displays properly and I could feel mosquitoes biting all over my legs. At the end of my tour, I did an interview with the manager of the museum, he told me the reason of the poor condition of the building. It turned out that the government have not been giving them any financial support for their maintenance, it was also seldom to visited by tourists, especially Indonesian visitors, except for school field trips, they were even surprised why someone, who is young like me, would ever come to visit the museum and be interested in finding information about Wayang.
After the two hours interview, I realized how amazing and interesting the art of Wayang is. Although there was no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. It is first believe to be a kind of religious rituals to honour the ancestors every harvesting season. The image of the Wayang itself has gradually developed and changed from time to time. When Hinduism arrived in Indonesia before the Christian era, Sanskrit became the literary and court language of Java and later of Bali. The hindus chaned the Wayang to spread their religion, mostly by stories of Mahabaratha or Ramayana, although later was mixed with Indonesian traditional culture. The philosophy within the Wayang stories has also developed, from its traditional religious means to today’s social critics. Although it was more of 60% spiritual and 40% social critics. The stories of each shows are showing a flexibility according to the current times or occasions. For example, if it were a show during a wedding ceremony, the story of the shadow puppet play would be about love, the story of Rama and Shinta, or if it was a show during an Independence Day party, it would be about heroism or war.
I think that if I can successfully deliver this collection to show to the public, especially the young generation of Indonesian as well as the foreign society, there could be a change of perception towards the use of traditional culture into modern fashion. Maybe people would consider and appreciate the art and culture of Indonesia, starting from Wayang or perhaps their own regional art and culture, and later would preserve and uphold it for the future.
The data which will need to be collected will vary, from the data about how Indonesian young generations’ way of life today, of how they are strongly influenced by the western culture so much, especially American culture (can be seen clearly how Indonesians are more enthusiastic during the US presidential election and the fact the Barack Obama lived once in Indonesia, than the Indonesian’s own presidential election which is happening now until July). Another data that needs to be collected as well is about the development of Wayang art, how it was very popular in the old days and is slowly beginning to extinct today. It is quiet hard to find any Wayang show anywhere in Indonesia, especially the big cities. I want to find out what actually went wrong that Indonesians are not able to maintain their rich and beautiful cultures. The only people who are still attracted to these art and culture are foreign tourists. So the theory I am interested to explore is on Social Psychology as well as the facts on how societies today are undergoing drastic social, informational, and technological changes in this era of globalization.
The methods of this data collection will be in the form of analyzing written texts, questionnaires and interviews on Indonesian’s perspective towards this globalization era and how Indonesian fashion should look like today and in the future, as well as how they feel about their traditional art and culture and how it is delivered to the public, whether or not they have the knowledge about their own art and culture also how they would want to maintain its value. I am planning to interview high school and college students as well as practitioner or art and culture observer, preferably from an educational institution. From these questionnaires and interviews, I will analyze whilst observing the habit and customs of Indonesian today that are living in the big cities, because that is when the trend first takes place before it spreads through the rural areas.
Hypothesis: Based on my own personal experience and observation towards the fashion and lifestyle of Indonesian young generation today, on how they are more interested in the western culture (for example; the way they are behaving to their elderly in comparison to the customs and manners our parents used to behave, the popular interest in Western art and lifestyle more than Indonesian art and traditions, the use of English is considered “way cooler” in conversation when socializing with each other, etc.). This could lead into an extinction of the rich and diverse Indonesian traditional culture in 20-50 years time. Indonesian will have the same of way of thinking as westerners and forget about their traditions and ethics which leads to the traditional culture be considered rare and ancient.
The reason why I am bringing up the theme of Indonesian Shadow Puppet came from my experience on seeing and observing how Indonesian cultures, which are rich and diverse starting to fade away. The young generations nowadays tend to forget about it and are more interested in westernizing themselves in this globalization era. In a way, this is a good thing, so that they have a broad way of thinking and open to any kind of new development that is happening around the world, as well as a good preparation for the future in building Indonesia as one of developed country. Although, I believe that we must never forget our own culture, especially when they are so rich and diverse, it is important to always preserve and be proud of our own culture. And in this globalization era, I believe that Indonesian should not penetrate everything from the foreign culture, instead, they should be able to combine it with their indigenous customs.
During Easter holiday, I came home to Jakarta and went to the Wayang (Shadow Puppet) Museum. At first I thought it was going to be a large and nicely decorated museum, turns out it was just a small dusty building. It is so sad to see how most people didn’t even know where it was, all the collection were not properly cleaned and displayed, I could see spider webs dangling across many of the Wayang figures, with some of their explanation tags being ripped by irresponsible visitors. It was so dark that people can’t see the displays properly and I could feel mosquitoes biting all over my legs. At the end of my tour, I did an interview with the manager of the museum, he told me the reason of the poor condition of the building. It turned out that the government have not been giving them any financial support for their maintenance, it was also seldom to visited by tourists, especially Indonesian visitors, except for school field trips, they were even surprised why someone, who is young like me, would ever come to visit the museum and be interested in finding information about Wayang.
After the two hours interview, I realized how amazing and interesting the art of Wayang is. Although there was no evidence that wayang existed before Hinduism came to Southeast Asia sometime in the first century CE. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre. It is first believe to be a kind of religious rituals to honour the ancestors every harvesting season. The image of the Wayang itself has gradually developed and changed from time to time. When Hinduism arrived in Indonesia before the Christian era, Sanskrit became the literary and court language of Java and later of Bali. The hindus chaned the Wayang to spread their religion, mostly by stories of Mahabaratha or Ramayana, although later was mixed with Indonesian traditional culture. The philosophy within the Wayang stories has also developed, from its traditional religious means to today’s social critics. Although it was more of 60% spiritual and 40% social critics. The stories of each shows are showing a flexibility according to the current times or occasions. For example, if it were a show during a wedding ceremony, the story of the shadow puppet play would be about love, the story of Rama and Shinta, or if it was a show during an Independence Day party, it would be about heroism or war.
I think that if I can successfully deliver this collection to show to the public, especially the young generation of Indonesian as well as the foreign society, there could be a change of perception towards the use of traditional culture into modern fashion. Maybe people would consider and appreciate the art and culture of Indonesia, starting from Wayang or perhaps their own regional art and culture, and later would preserve and uphold it for the future.
The data which will need to be collected will vary, from the data about how Indonesian young generations’ way of life today, of how they are strongly influenced by the western culture so much, especially American culture (can be seen clearly how Indonesians are more enthusiastic during the US presidential election and the fact the Barack Obama lived once in Indonesia, than the Indonesian’s own presidential election which is happening now until July). Another data that needs to be collected as well is about the development of Wayang art, how it was very popular in the old days and is slowly beginning to extinct today. It is quiet hard to find any Wayang show anywhere in Indonesia, especially the big cities. I want to find out what actually went wrong that Indonesians are not able to maintain their rich and beautiful cultures. The only people who are still attracted to these art and culture are foreign tourists. So the theory I am interested to explore is on Social Psychology as well as the facts on how societies today are undergoing drastic social, informational, and technological changes in this era of globalization.
The methods of this data collection will be in the form of analyzing written texts, questionnaires and interviews on Indonesian’s perspective towards this globalization era and how Indonesian fashion should look like today and in the future, as well as how they feel about their traditional art and culture and how it is delivered to the public, whether or not they have the knowledge about their own art and culture also how they would want to maintain its value. I am planning to interview high school and college students as well as practitioner or art and culture observer, preferably from an educational institution. From these questionnaires and interviews, I will analyze whilst observing the habit and customs of Indonesian today that are living in the big cities, because that is when the trend first takes place before it spreads through the rural areas.
Hypothesis: Based on my own personal experience and observation towards the fashion and lifestyle of Indonesian young generation today, on how they are more interested in the western culture (for example; the way they are behaving to their elderly in comparison to the customs and manners our parents used to behave, the popular interest in Western art and lifestyle more than Indonesian art and traditions, the use of English is considered “way cooler” in conversation when socializing with each other, etc.). This could lead into an extinction of the rich and diverse Indonesian traditional culture in 20-50 years time. Indonesian will have the same of way of thinking as westerners and forget about their traditions and ethics which leads to the traditional culture be considered rare and ancient.
my assesment
The feedback I had was not very good, the tutors weren't pleased.
But comparing to the progress I did within 3 the last 3-4 weeks, I was quiet satisfied that I could at least, build my concept, even though I know there are still plenty to develop.
So, during the preparation of my summative, this is what I thought:
1. Make up MY MIND of what I want to visualize my concept...mind you, I have been having so many "unwise" decision on how to deliver my concept in terms of visualisation. The Big Idea is: puppet show, to promote Indonesian art....but How? I first thought of making this extravagant piece of having an animated shadow puppet show on the garment...which is, NOT POSSIBLE.... because i just don't have the technical ability to approach it... (how unwise of Rinda Salmun...) then, I tried to incorporate my art background to my fashion garment....but How????? hmm, let see......tried to make a a cubism drawings with the theme of shadow puppet.....which i think, its a bit way too far from my original idea of projecting shadow puppet image on the garment.....
2. So, with the help from many friends and re-considering and thinking about the title "SHADOW PUPPET"....i tried to play around with that word.... "shadow...shadow....puppet.....shadow...." So i started to cut out some shapes of the shadow puppet and using my camera, a dark room, a projector and anything that I have, i took pictures on the shadow puppet shapes, experimenting on how I could capture the image, by projecting it on the wall, turning it upside down, reflecting it, etc..........
3. After this excercise, I thought, why not cut the shapes and stick it on a garment and to make a 3D effect, use a fabric with a thick texture...so I chose neoprene, because I like the texture and thickness, its soft, not rough like felt...
The next step:
I want to focus on the garment silhouette....I've made up my mind of what the fabric would look like, now its time to develop the garment silhouette which I AM SURE I could finish by September...I'm SURE of that...
I just need some help from the pattern cutting tutor, to help me with the making of the flat pattern, NOT THE DESIGN (of course no designers/artists/anyone in the creative world would want anyone to design for them) ....at the moment, I have the designs, but do not know how to transfer it into a pattern to be constructed as a garment...that's what I'm lacking...but I know that I could be able to do that, with a little help and hints and guidance from someone who knows about it...
and that is why I only presented my summative assesment in the shapes of basic pattern, apart from the fact that the fabric are quiet expensive that I made them in small scales..
silhouettes that inspires me..
I wanted to project a geometric silhouette through the garment, taken from parts of the shadow puppet shapes, though still keeping a simplicity in the garment
concept
For this MA project, I am exploring on the aesthetic part of the Wayang art. Although, I tried to observe the meaning and idea behind its philosophy and the meaning of shadow.
In my own understanding, I believe that a shadow represents the object, in the case of Wayang show, it represents the “soul” of the puppet. Indonesian believes that the Shadow Puppet (Wayang) has a soul, usually possessed by spirits of ancestors. It is believe that in order for the puppet master to create the dynamic movement of the puppet during the show, they need the help from the spirits within. Usually the puppet master would do many rituals before each show, such a fasting and praying, this shows how mysticism are closely related with this art.
WHY 3D CUTOUTS?
Shadows are the extension of the silhouette of the shapes. Therefore, I wanted to show a concept of bringing the shadow forward, as the front part of the garment. I wanted to bring out the “Soul” of the garment.
Shadows are in the form of 2D, but in this interpretation of mine, in order to bring out the “soul”, I made it 3D to make it rather “alive”. So the idea is to bring a 2D shape of the shadow forward to give a 3D effect.
THE SHAPES OF THE CUTOUTS:
The shapes of the cutouts are the expression of the shadow puppet from 2D to 3D. Shadow puppets shapes of different characteristics and sizes put together, stretched out, flipped horizontally and vertically, rotated and reflected.
The objective of this project is to show how I could still use something that may seem traditional and out-dated and develop it to something that could look modern and edgy without wanting to change the image drastically. I wanted to show how a diffusion of traditional art and culture with the modern western feel doesn’t always have to be about delivering an ethnic look, but make it look fashionable. The colour pallete that I am using consists of black, white and off-white, with the use of Neoprene, Organza, Taffeta and I am considering jersey as well for the fabric of the garment. Meanwhile, the silhouette I would want to show is the form of simplicity, edgy and geometric shapes taken from elements of shapes in the Wayang figure.
In my own understanding, I believe that a shadow represents the object, in the case of Wayang show, it represents the “soul” of the puppet. Indonesian believes that the Shadow Puppet (Wayang) has a soul, usually possessed by spirits of ancestors. It is believe that in order for the puppet master to create the dynamic movement of the puppet during the show, they need the help from the spirits within. Usually the puppet master would do many rituals before each show, such a fasting and praying, this shows how mysticism are closely related with this art.
WHY 3D CUTOUTS?
Shadows are the extension of the silhouette of the shapes. Therefore, I wanted to show a concept of bringing the shadow forward, as the front part of the garment. I wanted to bring out the “Soul” of the garment.
Shadows are in the form of 2D, but in this interpretation of mine, in order to bring out the “soul”, I made it 3D to make it rather “alive”. So the idea is to bring a 2D shape of the shadow forward to give a 3D effect.
THE SHAPES OF THE CUTOUTS:
The shapes of the cutouts are the expression of the shadow puppet from 2D to 3D. Shadow puppets shapes of different characteristics and sizes put together, stretched out, flipped horizontally and vertically, rotated and reflected.
The objective of this project is to show how I could still use something that may seem traditional and out-dated and develop it to something that could look modern and edgy without wanting to change the image drastically. I wanted to show how a diffusion of traditional art and culture with the modern western feel doesn’t always have to be about delivering an ethnic look, but make it look fashionable. The colour pallete that I am using consists of black, white and off-white, with the use of Neoprene, Organza, Taffeta and I am considering jersey as well for the fabric of the garment. Meanwhile, the silhouette I would want to show is the form of simplicity, edgy and geometric shapes taken from elements of shapes in the Wayang figure.
Monday, 11 May 2009
the influence of shadow puppet
During the research tutorial with Mark and Jeremy, Mark suggested that maybe, shadow puppet show has influence the making of films, maybe it is the original film, the concept of seeing a moving object behind the screen. And as I was talking to a friend who happens to live in Torino, Italy, she told me that there is a museum of cinema that says film makings, in fact, were inspired from the shadow puppet show.
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