Solaris. Truth. Illusion
FASHION MULTIMEDIA INSTALLATION
1. Foundations of the project
The author of the project believes that the most important issue in the works of Lem is a man lost between the recognized and the cognizable, between the knowledge on what he perceives with his senses and the possibility of full cognition. The man who, having empirical knowledge about the object, still struggles with sensing the world by intuition, outside his consciousness. The picture of the world he receives is repeatedly distorted and deformed. This confused man takes illusion for truth and vice versa.
The main question the author poses through her installation is: Is it possible to establish contact with one’s self, with another person, with a still object, with the absolute? And consequently: What are the limits to cognition, if there exist any? What is their extent and how are they connected with the knowledge an individual has about the world?
The installation is focused around an unconventional exposition of the collection of clothes which are presented without the traditional participation of models. Individual silhouettes are “enclosed” in Plexiglass objects which are suitably illuminated and composed in the gallery space. The recipient can walk among the objects and watch them from different perspectives.
2. Installation
“We do not exist for it in the same sense that we exist for each other. We recognize one another by the appearance of the face and the body. That appearance is a transparent window to the ocean. It introduces itself directly into the brain.” This quotation from “Solaris” is a leading theme for the spatial part of the installation which focuses on the sphere of the superficial. The dresses enclosed in Plexiglass objects are the elements of a consistent collection of prêt-a-porter clothes. They are a kind of a uniform and a mask. The recipient can watch them, approach and see from each side. His access is however limited by the Plexiglass surface.
The spatial part of the installation is completed by the multimedia part focusing around film screenings. It is a platform which communicates the recipient with the “objects” enclosed in the Plexiglass. The films present the emotional aspect of the installation. “'It' removed the deepest, most isolated imprint, the most 'assimilated' structure.” It is a quotation from the work “Solaris” which was the artist’s main inspiration while creating the screenplay. The characters of the films are a woman and a man set in the murky surroundings of the historic bath house in Zgierz. Dressed in individual models from the collection they undergo constant metamorphosis. For the dress itself is more than only a mask and outer garment. It is also a way of individual expression, an expression of the character’s self and a manner to identify with another person. The only constant of the films is changeability, which makes it difficult for the characters to establish contact.
The media which link the space of the objects enclosed in Plexiglass with the film screenings are the music composed specially for the installation and the light. Through these means of expression the recipient will be able to “wander” around the installation space both with his sight and physically. The space of Plexiglass objects and the film screenings will constantly interact.
3. Clothes collection
The Solaris collection is an integral part of the fashion installation “Solaris. Truth. Illusion.” The characters of the collection are a women and a man – explorers from the future lost in the contemporary world who seek for contact with each other and with the surrounding reality.
The Solaris collection comprises the futuristic character and post-punk sparkle. The author has created the models for both women and men. Wide variety of cuts and fabrics used for the collection makes it suitable to wear all year round. The designer made use of classic forms of the Perfecto jacket and a trench coat. Outer garments for both women and men are the variations on them. The artist merges their constructions creating original forms. She also experiments with the fabrics used in the models of coats and jackets. The futuristic character of the collection is emphasized by rubber technical textiles – matt, shiny and transparent – and geometrical cut-outs forming openwork patterns on the body. The pad-like modules used in the collection bring associations with space suits. The designer has considered the functionality of the clothes, which makes even the most daring models of her collection suitable as everyday dress. Thanks to high quality hand-coloured linings and a system of holes which lets skin breathe added to rubber coats and jackets, they can well serve as original and elegant raincoats. Contrastively, the avant-garde openwork sweatshirts and trousers are made from pleasant cotton knitted fabrics. The clothes are decorated with metal studs, spikes and plenty of zippers which highlight their rebellious, punk character.
Two main features of the collection are eclecticism and play of contrasts. The designer combines the classics with the avant-garde, juxtaposes severe punk style with knitted sports elements and subtle nude colours, opposes functionality to uniqueness. At the same time she gives attention to the consistency of the collection and makes sure that individual models can be freely set together. Each of the silhouettes is arranged with multiple layers of coats, jackets, trousers, sweatshirts, tunics, jumpsuits and sports underwear. The designer plays with openwork and transparent textiles creating multi-layer compositions. She also makes use of natural body hue which gives colour to the holes formed by openwork thus alluding to nude colours used in the collection. What makes the collection unique is the use of hand-coloured and hand-prepared linings and knitted fabrics whose patterns can be associated with outer space.
The project, which popularises the works of Stanislaw Lem, in addition to its unquestionable educational value also takes the art of fashion design beyond the clichés of traditional reception. Using the language of modern art, it introduces the works of young designer of ready-to-wear fashion and at the same time confronts the recipient with the installation presenting the spectrum of artistic activities of various creators: video art, music, photography, computer graphics.
www.solaris-fashion.com
The author of the project believes that the most important issue in the works of Lem is a man lost between the recognized and the cognizable, between the knowledge on what he perceives with his senses and the possibility of full cognition. The man who, having empirical knowledge about the object, still struggles with sensing the world by intuition, outside his consciousness. The picture of the world he receives is repeatedly distorted and deformed. This confused man takes illusion for truth and vice versa.
The main question the author poses through her installation is: Is it possible to establish contact with one’s self, with another person, with a still object, with the absolute? And consequently: What are the limits to cognition, if there exist any? What is their extent and how are they connected with the knowledge an individual has about the world?
The installation is focused around an unconventional exposition of the collection of clothes which are presented without the traditional participation of models. Individual silhouettes are “enclosed” in Plexiglass objects which are suitably illuminated and composed in the gallery space. The recipient can walk among the objects and watch them from different perspectives.
2. Installation
“We do not exist for it in the same sense that we exist for each other. We recognize one another by the appearance of the face and the body. That appearance is a transparent window to the ocean. It introduces itself directly into the brain.” This quotation from “Solaris” is a leading theme for the spatial part of the installation which focuses on the sphere of the superficial. The dresses enclosed in Plexiglass objects are the elements of a consistent collection of prêt-a-porter clothes. They are a kind of a uniform and a mask. The recipient can watch them, approach and see from each side. His access is however limited by the Plexiglass surface.
The spatial part of the installation is completed by the multimedia part focusing around film screenings. It is a platform which communicates the recipient with the “objects” enclosed in the Plexiglass. The films present the emotional aspect of the installation. “'It' removed the deepest, most isolated imprint, the most 'assimilated' structure.” It is a quotation from the work “Solaris” which was the artist’s main inspiration while creating the screenplay. The characters of the films are a woman and a man set in the murky surroundings of the historic bath house in Zgierz. Dressed in individual models from the collection they undergo constant metamorphosis. For the dress itself is more than only a mask and outer garment. It is also a way of individual expression, an expression of the character’s self and a manner to identify with another person. The only constant of the films is changeability, which makes it difficult for the characters to establish contact.
The media which link the space of the objects enclosed in Plexiglass with the film screenings are the music composed specially for the installation and the light. Through these means of expression the recipient will be able to “wander” around the installation space both with his sight and physically. The space of Plexiglass objects and the film screenings will constantly interact.
3. Clothes collection
The Solaris collection is an integral part of the fashion installation “Solaris. Truth. Illusion.” The characters of the collection are a women and a man – explorers from the future lost in the contemporary world who seek for contact with each other and with the surrounding reality.
The Solaris collection comprises the futuristic character and post-punk sparkle. The author has created the models for both women and men. Wide variety of cuts and fabrics used for the collection makes it suitable to wear all year round. The designer made use of classic forms of the Perfecto jacket and a trench coat. Outer garments for both women and men are the variations on them. The artist merges their constructions creating original forms. She also experiments with the fabrics used in the models of coats and jackets. The futuristic character of the collection is emphasized by rubber technical textiles – matt, shiny and transparent – and geometrical cut-outs forming openwork patterns on the body. The pad-like modules used in the collection bring associations with space suits. The designer has considered the functionality of the clothes, which makes even the most daring models of her collection suitable as everyday dress. Thanks to high quality hand-coloured linings and a system of holes which lets skin breathe added to rubber coats and jackets, they can well serve as original and elegant raincoats. Contrastively, the avant-garde openwork sweatshirts and trousers are made from pleasant cotton knitted fabrics. The clothes are decorated with metal studs, spikes and plenty of zippers which highlight their rebellious, punk character.
Two main features of the collection are eclecticism and play of contrasts. The designer combines the classics with the avant-garde, juxtaposes severe punk style with knitted sports elements and subtle nude colours, opposes functionality to uniqueness. At the same time she gives attention to the consistency of the collection and makes sure that individual models can be freely set together. Each of the silhouettes is arranged with multiple layers of coats, jackets, trousers, sweatshirts, tunics, jumpsuits and sports underwear. The designer plays with openwork and transparent textiles creating multi-layer compositions. She also makes use of natural body hue which gives colour to the holes formed by openwork thus alluding to nude colours used in the collection. What makes the collection unique is the use of hand-coloured and hand-prepared linings and knitted fabrics whose patterns can be associated with outer space.
The project, which popularises the works of Stanislaw Lem, in addition to its unquestionable educational value also takes the art of fashion design beyond the clichés of traditional reception. Using the language of modern art, it introduces the works of young designer of ready-to-wear fashion and at the same time confronts the recipient with the installation presenting the spectrum of artistic activities of various creators: video art, music, photography, computer graphics.
www.solaris-fashion.com
Art Factory
Tymienieckiego 3
90-365 Lodz, Poland
phone/fax: 48 42 646 88 65
info@fabrykasztuki.org
::: more information
Tymienieckiego 3
90-365 Lodz, Poland
phone/fax: 48 42 646 88 65
info@fabrykasztuki.org
::: more information
