Final Critical Breakdown 1

Donna Haraway in her “A cyborg manifesto science, technology and social-feminism in the late twentieth century”(1991) comments on  three critical breakdowns in history that demonstrates that we are moving towards a cyborg era. This piece comments on the first critical breakdown: the boundary separating humans and animals is narrowed as animals are observed to be creatures of knowledge. However instead of commenting on the rise of intelligence in animals which would require a piece made for animals I have commented on the revision of humans being as more like animals. Thus in this piece a human can sprout physical feathers, as the barb-like pin frame sits underneath one’s clothing to allow the fine silver feather to sit otherwise unaided on top of the wearer’s clothing. The use of fine silver created a clear impression of a real feather on either side of the silver feather. Furthermore the use of fine silver created a good contrast between the feather impression and highly polished background created by the discrepancies between the different feather patterns. Despite these qualities I feel the use of real feathers would have conveyed more directly the message of one growing feathers, however I felt metal was a more suitable material as it would resist the damage that comes from wearing an object more, than delicate feathers. In the future I would like to examine the possibility of setting real feathers in resin or silicone in a way that would not hinder their natural form but still be wearable.

Final Critical Breakdown 2

            Donna Haraway in her “A cyborg manifesto science, technology and social-feminism in the late twentieth century”(1991) comments on  three critical breakdowns in history that demonstrates that we are moving towards a cyborg era. This piece comments on the second critical breakdown: the blurry distinction between organisms as a whole and machines. This piece attempts to blur the boundary between machine and organism by commenting on how we attempt to transform our organically shaped fingertips to touch things that are very geometric. For example the square keys of a key board. Thus this piece highlights the possibility of our finger tips one day turning into a geometric shape, that would better suit our uses.

            In creating this piece I attempted to make it appear as mechanical as I could. Like many machines the piece can come apart into smaller components, pieces must be replaced such as the inner tubing, it has function and movement through the rotation of the wing nuts on the threaded bolts and the more mechanical materials of inner tubing and mild steel are used. This piece creates an interesting sensation when worn as it changes the shape of the finger pad to square. Moreover when it is taken off it leaves a reminder of the impact it has had on the body.

Final Critical Breakdown 3

    Donna Haraway in her “A cyborg manifesto science, technology and social-feminism in the late twentieth century”(1991) comments on  three critical breakdowns in history that demonstrates that we are moving towards a cyborg era. This piece comments on the third critical breakdown: the boundary between physical and no physical has become very imprecise. This piece reflects on this breakdown by incorporating the senses that have both a physical component related to the actual sensation and a non-physical component related to perception. The physical sensation component of the piece relates to the fleshmap studies created by Fernanda Viégas and Martin Wattenberg. Fleshmaps is an interactive program that was developed using 33,871 participants of both sexes, to pinpoint the erogenous zones on the body that are of most desirable to them and the zones they find most desirable on other people. To physical represent this I decided to look at the neck, that traditionally is a very sensuous part of the body and the zones that were indicated on the neck by the Fleshmaps. Furthermore I decided to use the lower part of the face as well as I feel is it a sensuous area that lover often caress and hold. Thus the pattern I used to make it, is reminiscent of hands cupping a face.

             Using RTV-2 silicone I made flat braces for the lower face and neck areas. The flatness is a direct representation of the flat images provided by the Fleshmaps. Furthermore the silicone was cured with a small amount of flesh tint to give it a second skin quality. In the silicone I set 13mmx13mm laser cut acrylic crosses to present these point of desire. By setting the crosses in a stretchy silicone I was able to remove the crosses when it had set. This allows the wearer to place in the spaces created by the 13mmx13mm, 15mmx15mm crosses where they feel no desire, to cover up those areas, so that they can only be touched in the area they feel desire. Thus the silicone and acrylic cross form a physical barrier for where the wearer feels no desire.

            The non-physical component is related to the perception of desire. The gaps created by the set crosses, allows the wearer to display where they perceive they most like to be touched. To heighten this desire the pearl pigment 650 Micropearl was added to the silicone.

http://www.flickr.com/photos/69716075@N06/sets/72157627981354811/

Plasticine Molds and Silicon pieces [Unfinished]

Upside-Down, Right Way Up

Material: Sterling silver
Height: 9mm
Width: 22mm
Length: 28mm

 Inspired by a cast, silver, pendant by Otto Künzli, here I have formed an upside-down ‘love heart.’ Künzli's piece commented on the pop culture of United States through the use of an iconic image and giving it the appearance of an artefact (with a pre-Hispanic name). However I am simply interested in the sensation of the experience when wearing it, as only the wearer can view the piece the right way up, as a heart. Thus the experience is kept unique and personal. However the iconic image is universal.

Otto Künzli's series:

Second Skin [First Final]

Final fresh tint and see-through stretch, earth magnet pieces.

Second Skin [experiments]

Experimentation expanding to include a collection of powered pigments, crumbs, sheep's wool, mild steel and dentistry plaster powder.

Using pourable, addition-curing, two component silicone rubber that is highly flexible and has translucent properties mixed with other toxic goodies to create a malleable, stretchy all encompassing and form altering second skin.