Photoshoot component: "Street Urchin (Factory Supplicant)": arm-knitted capelet/wrap made from wool Pendleton manufacturing scraps.
Partial installation view: production shack
Prototyping props and costumes for the photoshoots
Shredded woolen plaid and "native" textiles
dazzle camouflage pattern tests
dazzle camouflage influences: Russian constructivism, Anni Albers textile designs, WWI-era battleships, ethnographic photographs, African studio portraiture, female Mexican Zapatista soldiers, etc.
Workshop production: props and prototypes for the photoshoots
Second day of two-day workshop
Styling for photoshoots using garments and props designed and constructed by workshop participants
"Catholic Empire Booty Jam": cotton shoulder cape with retractable facial covering/cowl, cotton hot pants embellished with Pendleton woolen fringe scraps and silkscreened jersey fabric. Designed and styled by participant Zara Nora and modeled by Kyle Yoshioka.
"Head of a Local Girl (Viewfinder)": extendable cowl/facial shield/hood: black and white cotton canvas, sheer knit jersey fabric. Designed and fabricated by Kyle Yoshioka. Modeled by Stephanie Syjuco.
Cascadian Pattern Collapse (Production Shack)
Two-week production and installation space, workshops, and photoshoots. Commissioned by the Museum of Contemporary Craft, Portland, OR, in conjunction with the exhibition "Fashioning Cascadia."
Artist talk: "Patterned Migrations: on frictional objects, crossed signals, and bastard images." June 12, 2014 (60 minutes)
Conflating ideas of dazzle camouflage, fashion, ethnic fictions, capitalism and empire, this project was a live production space located within a museum in full view of the public. Industrial textile cast-offs were sourced from Pendleton -- an American woolen manufacturing company based in Oregon known for iconic "American" plaid designs and "Native American-inspired" patterns -- and used to prototype fictional garments and accessories to be activated in public workshops and photoshoots.
Over the period of two weeks, this "craft production spectacle" played on notions of performative labor and cultural conflations/confusion. The final two days of the residency were spent working with eight participants to sew and design unique props and garments that would be styled in fictional narratives dealing with capitalism and empire. The resulting photoshoots document a playful yet critical view of globalization, labor, and industrial manufacturing processes.
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