So far in IP...

The last two weeks has consisted of a few different goals in IP, mostly in the gathering of ideas and materials.  I think figuring out where to start has been the biggest challenge so far.  

Most of my work tends to develop through a process of gathe

ring and making things.  Once I start to get into the groove of creating a phys

ical project the ideas tend to evolve and change with the work.  Since I have a basic idea of what I want to accomplish for IP I think the most important thing is to start creating physical wo

rk 

to get a higher level of conversation happening.

Last week I was especially concerned with budgeting and what I would need to get started.  I've been writing notes down every time I think of something and my working list of Main Budget concerns is as follows:

Fabric and lining

Notions (elastic, zippers, snaps, buttons, hooks/eyes, boning, batting, thread, etc.)

Craft Items (to build 3D elements, head dresses, balloons, bubble wrap, flowers, feathers, etc.)

Electronic Equipment (El wire, Lily pad ardinuo?, LED, fiber optics, battery packs, inverters,etc.)

Makeup and Hair pieces (Body paint, fake eyelashes, stage makeup, hair/wigs?, etc.)

Shoes?

So while I might be getti

ng a bit ahead of myself, I think it's important to know what I'll need to acquire by the end of IP.  I also have been thinking about the show I want to achieve since I talked to Danielle about using the Duderstadt for my exhibition.  I have so far talked with friends, especially those with technical theatre backgrounds, about modeling, help with makeup, lighting, video project

ion, and music.  I can't wait until those things get under way and am completely excited by the thought of accomplishing my final show.  I want my project to really become a culmination to my time here and everything that I am most passionate about; theatre, art, and fashion.  I've chosen to address dreams, nightmares, and the subconscious to keep myself enthusiastic and ready to work throughout the year.  I want my work to feed the imagination and not only have a great visual impact but reflect the feeling or emotion of that particular dream

 or nightmare.  When talking with Michael a while ago in my studio I know we came across the thought that these wearables should definitely reflect the feeling of the dream in a physical way, therefore relating the mind (the dreams and 

nightmares) to the physical body.  

Here's a bit of my rambling notes I've randomly written down over the last few studio hours and couple of weeks (My thoughts on dreams and why they fascinate me):

:Being transported to a dreamlike state - when dreaming not having a grasp on reality/I can manipulate and control the materials in my garments like I cannot manipulate what happens to me in my dreams.  I can make a commentary on the things that happen in my dreams by manipulating things but maybe it is to gain a sense of control over what happens to me when I am dreaming. That dreamland is a mystery to me. To consider this strong dream imagery in a more developed way i want to transport myself and my audience/models to the place I was in my dream by creating thes

e garments.  It is something like revisiting the dream.  I like the idea of taking myself back to where I was in my mind during each dream to face the mystery and perhaps learn why I was there in the first place.  Each garment will possess the mood of the dream such as the one I want to start making - the jellyfish entrapment dress.  This particular dream was really memorable to me for some reason.  In the dream I was in the ocean, floating, with no land in sight and I was trapped physically by a swarm of jellyfish.  It was really scary because I 

literally couldn't move because of them but I remember they weren't stinging at all and were just very beautiful.  I find the id

ea of the beautiful prison or scary-beautiful really interesting."

Last week I was also playing around with inspirational music that would go

 along with my show.  I think music will be very instrumental (excuse my pun!) in the final show and is important for the final impact.  I am really excited about some potential songs I would like to mix including some from the Reqium for a Dream soundtrack (I love the Summer Overature), and classical such as Shostkovich, and Phillip Glass. 

This image to the left is a dyed mater

ial I was playing with in my studio.  I just lov

ed the way it looked and was warming up to getting started with some fun draping on my dress form.

These are some of my 

early sketches I've done for fun based off of specific dream imagery I've collected over the last few years.

I'll continue this another time...