Reflection and Evaluation
Going forward in my practice, I have become more aware of the importance of material’s language. Initially, I aimed to talk about individual values that craftsmen bring to the world with their creativity, investigating disappearance of traditional clothes in comparison to other handcrafted objects, due to mass production in Iran. Artisans and their handmade skills have an important role in everyone’s heritage and history. Clothes as tangible symbols of identity have an enormous role in representing an individual’s identity. It is vital to cultivate these values and to keep these skills alive.During the process, I was challenged by approaching the medium relevant to the subject. Bringing the conversation of clothes as a functional object in fine art was thought-provoking. My main goal was to focus on clothes as tools of communication with its details, signifying motifs and embroidery techniques as traditional forms of making rather than just the functionality of clothes for covering the body. It was important to show how traditional handmade clothes are in danger by the act of western society which has power in the socio- economic market. I used embroidery techniques as a form of ancient art with decorative and communicative purpose in terms of colour, motif and texture, to make a conversation on the process of making clothes which affects its spiritual propriety. The name Silk Roadcame from the Silk thread which I used in my embroidery, as a metaphor for the connection between east and west or past and present. Using silk was the response to a faded art in north of Iran. The mirrored effect vest was the presentation of how traditional handmade clothes are affected by industrialisation.I used clothes as a visual language and formal element to communicate my idea to the observers. I was inspired by Islamic geometric patterns, from the science of proportions in architectural design as a language. The geometric pattern is related to nature and surroundings, deeply rooted in Islamic design, used in carpet, textile, embroidery and other decorative objects. I was inspired by both Yaniki Shonibareh and Nick Cave whose works dealt with cultural identity, colonialism and social issues. In my research, I tried to contact local producers of materials to understand the connection between materials and communities and how lead artisans create their art in society.The space in the university studio provided a wider opportunity for display of my work and a new platform for communication. Video presentation in the background of my work with the overhead projector, focused on the borders in different forms and how they perform in the real world. Political borders represent globalisation and mass production affecting consumers’ behaviours.Overall, my aim was to confront consumers with two cultural objects, traditional clothes (slow fashion) and contemporary clothes (fast fashion), each carrying different qualities and aspects, focusing on the significance of cultural identity. The audience in the room interact with two hanging objects, the translucent shadow of a world map and threads magnified on the wall. They are invited to experience the work in an immersive and contemplative way and to connect with space. They are also reminded of the value of handmade clothes, details, colours, patterns and the forgotten story of craftsmen when it comes to the economic sector and fast fashion. Audiences are to interact with elements in the room and rethink the propriety of materials and objects in relation to their own physical existence in the room. Thinking, am I wearing this? Where can I wear it? What is this pattern? How are they made? Or who does this belong to? These questions all relate to who we really are through what we wear.I believe, as an artist, it is very important to be satisfied with the result and final display of your artwork. Although I am very happy with the final work, I believe further research on local artisans would have helped to better represent and communicate my work to the audience. This is certainly what I will carry on to do in my future works to better express my feelings towards the art of making clothes and not seeing it as an industrial object.