Just add your body to create a work of art

by AryanArtnews
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The store is gorgeous and a sarcophagus to the spirit of Miss Pai. Soft silver greys line the walls, and slim 1950s chairs sit sharply in the corners. The receptionist’s desk swirls around Nouveau. Built into the tree is an aquarium, where Lurex-like water shines. Zigzag and zigzag button-sized tropical fish, sapphires and oranges, and tapered weeds.

Peter Tally is in the work room with his shoes on. December 29, 1981.credit:Gerrit Alan Fokkema

Hieroglyphs include exhibited works. Victor Rubin’s black boots, a collage of molded shoes, a pile of trash wood, nails, and a used McDonald’s-style fork pierced with a spear. There’s Rene Boulten’s Reporter, a simple cliché papier-mâché poem with a sloppy tie and press card on borsalino from New SCHAU ESSEN.

Dolly Manon boys and girls are distant relatives of artwork. They are art furniture, two giant felt cushions that act as frames for girls and boys popping out in a “comfortable” collage of satin, curls and jock.

Artwork has nothing to do with “latest”. Artwear designers don’t travel to Europe twice a year to catch up with the Couturier collection. Artwork, whether natural or synthetic, is not limited to materials.

Artwork is related to the current concerns of music and painting. Artwork is a moving sculpture or canvas that uses the human body as an element and is used as an additional, often desirable, but not essential expression.

Katie Pyes, for example, has some surprises for buyers of rustic dresses. Clothes have no “end”. They are folded, the back side is the outside and the outside is the inside. They are Alice’s Puzzle in Corners and Colors, a textile journey through the underground world of cloth that appears as a “suit,” “dress,” or “jacket.” Watching Katie Pye is as satisfying as a chess game.

Art Clothes, the first exhibition of contemporary wearable art objects at the Art Gallery in New South Wales a year ago, congratulated designers officially recognized as artists.

Organizer Jane De Teliga is an assistant curator of prints and drawings, and recalls her hard work to overcome the stigma associated with fashion in the art world. But I wanted to show people access to art, it doesn’t have to be a big philosophical one. “

DAY-GLO Pink, Lime Nylon and Limp Green Tulle are adorned at the front door of Peter Tully. The inside of the color is repeated and pulsing: fluorescent color, a color with unique power. Electrical and vibrant colors tied with bright threads to Formica table tops, record covers, and furniture wrapped in Cristo-style nylon.

Katie Pai, a hieroglyphic clothing designer photographed at a shop in East Sydney.  December 16, 1982.

Katie Pai, a hieroglyphic clothing designer photographed at a shop in East Sydney. December 16, 1982.credit:Anton Thermac

“It’s all about color,” Peter Tally explained his work.

Tally is a grand master of body decoration. His magic with modern materials has long been recognized. He is a favorite of the National Gallery of Australia’s Decorative Arts Collection, art consultant Ace Burke, flamingo park designers Linda Jackson and Jenny Kee, and Katie Pai.

Peter Tully’s small studio burns in bright plastic, mirrors, vinyl, perspecs, and rubber tubes. The length of faux fur drips from the ceiling to the floor. “I brought back a lot of material from New York, a material that can’t be bought here,” he said, showing a valuable piece of clear plastic with an opaque coating.

“Sometimes you can step into knocks and car beads to see nylon bath mats. That’s exactly what I want. Also, look for rubber bands of a particular color for weeks.”

The small pieces he stores in the many fruit salad containers he puts on the shelves find a house. The pair of ear decorations features miniature plastic feet, Lurex lips on a green mirror disc, and silver hands with doll eyes on an orange bar.

Tally’s work extends from urban tribal wear and body decorations to sculptures such as “Tulips at Night” with flower heads popping from fluorescent bowls. These stunning “tulips” were recently acquired by the National Gallery of Australia.

Furniture, Sydney Festival parade floats and costumes are now in Peter Tally’s head.

“If I could explain it all-the specific philosophies and emotions in it-I wouldn’t do it.”

JUDITH Hotchkiss opened the door wearing a gold Lurex top, two-tone orange stretch pants with striped knees and swords. Her hair was flipped over her face with a pigtail.

That morning she completed a New Year’s Eve dress designed according to the only instruction, “Make me a ridiculous dress.”

The masterpiece twists on a hanger. A black silk dress with a huge multi-colored tutu tulle color. It was “inspired by a tulle-stacked lycat shop. They were great. If you didn’t look that way, you wouldn’t have thought. The dress was like an orange with blue accents on black. I can see it.”

Judith learned needlework with a protrusion in the middle of the Pirigus club. She always sewed her clothes and then sewed them for her friends. Eighteen months ago, after teaching high school math and elementary school for six years, she settled down to make clothes for her life.

Her bread and butter come from Paddington’s market stalls where she sells cotton fashion pants. Her artistic clothing is luxurious.

Sunory wore one of her works on February 1, 1983.

Sunory wore one of her works on February 1, 1983.credit:Philip Wayne Rock

But she is not known in the highly competitive fashion industry. “Before the store owner sees my clothes, he has to go his way to fascinate his pants.”

“Some people don’t really understand the idea. They call them punk, but not what I call punk. They don’t appreciate the effect of faux fur collars on fur. I’m worried that I might stab her. “Several regular retailers buy her clothes.

One of her favorite dress designs flashes small lights in sequence. Supplied by a small rugged battery pack, the tube of light is secured to the bronze bib and the electrical leads are attached with claws across the bib.

“I like to put things on my clothes,” she says. “I have gone through the electrical wiring stage.”

Julie Cunningham, 26, knits clothes in the attic of the Woolloomooloo.

Hundreds of bulky balls and cones are wrapped in shelves with brightly shiny cotton, wool, raffia, spun linen and hump silk lines and housed in cases and baskets. Pushed into a room with a strangely shaped low ceiling are two knitting machines and an old black singer who has just broken.

Julie graduated from Alexander McKee Art School two years ago. She is currently completing a graduate art course and is making an 18-minute animated film. Whatsabody With a grant and knitting from the Australian Film Commission: “I was making clothes to go through through art school-I went through college and knitted.”

Eight years ago, Julie was dotted with star-studded landscape jumpers in the midnight blue sky, or bifurcated trees on seagulls and rocky capes. They had a European winter sensation in the colors of autumn. Lightning divided the landscape into two parts. “

When Rihanna became popular, she was asked to knit the Rihanna jumper with a twist. A kangaroo chorus line hit by lightning in front of a brick veneer house.

She moved on to a full bodysuit running up on a knitting machine. Her latest knitting machine is computerized. It knits pictures, words, and complex patterns. A computer card has a picture of a woman from prehistoric culture on the drawing board. They are photoelectrically supplied to the knitting machine that reads them and sets the stitches.

“It’s really liberating.”

SUE NORRIE almost disappears on the wall of Rykart’s house. The room has the texture of her paintings and T-shirts, and her colors are everywhere: faded soft red and gray armchairs, old aqua chairs, shell baskets, home tables-with apricot luster. Dulux, slashing wavy curtains and an abstraction of her own work.

Sunory T-shirts sell for about $ 50 to $ 60. It seems to be an amazing price for the Great Ocker uniform, which is a national rag. But it’s a small price for paintings, moving abstract paintings that absorb the eyes for hours. These are pictures that have the advantage of being able to protect you from sunburn. They can be taken to a party and thrown into the washroom.

It worried her when Sunory started her T-shirt art four years ago. She is a serious artist and a former student at the National Gallery of Victoria. She worked as an art therapist with the mentally retarded and traveled and exhibited in Europe, England and Japan. T-shirts; they made her uneasy.

Anna Maria makes a model with Jan Harris at his Double Bay Shop on December 29, 1981.

Anna Maria makes a model with Jan Harris at his Double Bay Shop on December 29, 1981.credit:Gerrit Alan Fokkema

“Six months later I quit them. I was surprised. I was a painter so I thought I shouldn’t do this.” In 1979 she was pulled back into a T-shirt. But soon I thought, “I started jumping out again.” Oh, this is really bad, “and I was still skeptical about it. “

Sue Norrie’s T-shirt work is now recognized as extraordinary. Katie Pye features Norrie’s clothing in hieroglyphs. Norrie doesn’t look at them as strongly as her “serious” art, but her summary of T-shirt material is said to be “more spontaneous and decorative than her paintings.”

“I’m living with my shirt off now. I like them in that they are an extension of my painting. Because they are abstract but functional objects. Break the “abstract”. They are reaching out to people, not behind the glass.

“T-shirts are really the most basic Australian canvas, merchandise, and lowest common denominator. I don’t mean” awesome, what a hippie thing to draw a T-shirt. ” I’m not interested in painting clothes. I think T-shirts are canvas. I have never seen it as fashion. “

The movement of art clothing spreads across the double bay, providing a smooth and elegant compromise with fashion. Theatrical and television background designer Jan Harris runs Artclothes at Bay Lodge Arcade.

It opened in May last year. There is calm like a boutique. Shop clothing is not a one-off piece. They can be built to the client’s specifications. But the imagination and expressiveness of style is related to the genre of artwear.

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Harris is a graduate of the NIDA Theater Design Course. His work has a strong presence. “Actors and actresses have always picked up my costumes. I build from dialogue. What’s happening on the street?”

Through the work of Harris, we carry out the preconceptions of the design of the times. Jumper and sweatshirt dresses crawling on kangaroo and gum leaves, vague renaissance, partially new romantic tafetta and silk, spilled tulle and plastic skirt spray, flamingo park Australiana’s obsession with wearable art Lurex.

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