Research - 11 12/12/18 Lanyard, Part Two

Marie Kondo: Tidying With Toddlers

Following watching the detrimental effects on this family's relationship, it is important for me to conclude with the sadness associated with hoarding; after presenting the embrace, I do not want to be misconstrued as romanticising what can be an awfully upsetting illness. I intend to see how two people might respond to my final outcome by embracing each other, posing the question of "When does the embrace become claustrophobic?", in order to evoke reflection in my audience. If I were to be presenting this, I would love for my lanyard to be shown in the context of this piece of performance art.

The Hoarder Next Door

In terms of David's experience with hoarding, it is triggered by sense of loss, with him drawn to items that evoke emotional connection. I would like to help reduce hoarding tendencies through my final lanyard, due to it being an expression of identity, one of which could be an end goal for recovery, to maintain that physical closeness to the most sentimental objects, without being overwhelmed by "unnecessary" material things.

With hoarding being a defence mechanism, a blanket of reassurance which in David's case fulfils his mothers embrace, I would like to replace this on my final lanyard, so that although the items are discarded, that warmth is maintained.

Moving forward, I would like observational drawings of objects bought from the car boot, the breeding ground for collectomania, to generate intriguing shapes, which could intertwined like an embrace. It is possible that the negative space could allow for other important objects to interlink, so that the final lanyard can be tailored to each individual's recovery plan. Printwork is something that has intrigued me, so utilising painful repetition of a motif of mark could represent the ritualistic element of the behaviour.

 

Interaction of Colour, Revised and Expanded Edition (2006): Josef Albers

Following Frances' suggestion of refining my colour palette, I found this literature incredibly insightful, particularly in terms of how I learn; simply reading about Albers' experiments, I found it incredibly difficult to understand his conclusions, however contextualised with images of what he was describing later in the book, I was able to better grasp his findings. As a result, I have come to realise that I am more of a visual learner, yet would benefit from a demonstration to observe the process of his explorations of colour, and so in that sense, I feel as though I am predominantly a kinetic learner. This has influenced me to continue to be as thorough with process documentation in my reflection, yet also throughout my sketchbook. Furthermore, it has consolidated my agreement with Albers that practice comes before theory, contrary to common belief, and has allowed me to realise why I am experimental during early research stages even, to begin refining throughout development. Frances advised me to refine further, in terms of colour, so maybe I could conduct some colour experiments in a smaller sketchbook inserted into my main one in order to make my main seem more considered?

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This exploration of quantity seems like a useful exercise in consideration of proportion to apply to a potential smaller sketchbook, to consider colour externally to any textural influence, or even that of shape or form, within my observational studies or development work, as my focus will purely be on hue. It also hammers home how personal and instinctive colour choice is; my selection of the interaction of variants would be due to what I feel I prefer on that day, my reason potentially influenced by my mood, much as is the colour composition of clothing I choose on that day.  

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The Bezold Effect in altering light intensity of colour is something I feel would really aid my work, due to my tendency to repurpose cheap / found materials (sometimes compromising on the hue I desire to convey) to discover interesting form, as sometimes it may be more efficient than painting or dyeing to introduce sophistication through influential colours to change the colour value of the main material to fit more into the colour meaning that I wish to present.

I recognise I still have a lot to learn about colour, which I feel will be a continuous process during my lifetime, but by taking conscious steps into making a more informed choice, focusing on composition and proportion, particularly considering influential and influenced colour and their relationship, I will begin the journey of practice, which will help in evoking theory.

The Car Boot: Relief and Fuel of Collectomania

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Prompted by how it is David's starting point of collection, I found the car boot to be rather paradoxical in terms of decluttering; with intentions of ridding yourself of unwanted items, temptation of a plethora of stalls means it is unlikely that you will in fact decrease your clutter, but rather accumulate more. Much like the inundation of banal objects seen both in 'The Hoarder Next Door', and amassed on tabletops here, this overwhelming urge to collect jumped out at me through hands interlocking with wares, proudly territorial over their next purchase, to repel others that may have also been eyeing it up. Analysing through touch as well as sight seemed to me rather brazen, the decision of purchase seemingly emotional as opposed to practical, something which became problematic for David in the programme. This paradox of purpose of the car boot, coupled with the masses of stalls, suggests to me that collectomania is embedded within us all to an extent, in this era where capitalism thrives.

My observation of hands was overwhelming; as well as those hungry to buy, gloves dominated the markets, which I purchased to experiment with, to show the all-consuming desire to collect and buy, possibly through repetition, covering the entire body. I may even attempt to cast or mould some hands too, to suggest the unbreakable nature of society's habit, with temptation all around. This temptation could potentially be reflected by the objects I purchased from the car boot to work with, much like how we (well I know I do) accumulate nik-naks with the intention to upcycle, however leave items forgotten. I think producing a lanyard gives a purpose to these forgotten items, and hopefully inspires others to make use of their clutter, reducing storage space, by culminating it into an accessory that is both stylish and an expression of identity. In this sense, an element of personalisation could be something to experiment with when constructing my lanyard, however I will need to explore this further. The sense of inundation could be reflected by sealing holes of the car boot objects with material (the way in which to do this I would need to research further -maybe the hands?), as well as placement on the body to stem from crevices such as the crook of the elbow, the mouth, etc, in addition to consuming the body through repetition, as though the capitalist desire to accumulate more and more is squashing human rationale beneath.

Everything But The Kitchen Sink: Lanyard in the Depths of my Handbag

Conducting some research into my own lanyard as a starting point, I embarked on the habitual delve and rummage into my handbag to locate it, lost amongst the debris that is my excessive amount of belongings that I drag around with me daily. Despite the lanyard supposedly making the identity card more arduous to lose, my succumbing to capitalism, shared by my peers hence the coined phrase "everything but the kitchen sink" uttered to fill the noise of pushing contents around searching for a purse or a mobile phone, means it is often still buried by other clutter. This desire, need for banal objects is something I would like to explore, in order to design a lanyard for someone overwhelmed with stuff; I am going to research into the hoarding mentality, as well as ways to combat this behaviour, to hopefully produce an outcome that is practical as well as visually appealing.