the evolutionary alchemy of creativity

Transcription

UNTITLED
: THE EVOLUTIONARY ALCHEMY OF CREATIVITY
RISE OF THE ‘M A V R I C K H Y B R I D’
NIXI
KILLICK
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UNTITLED : THE EVOLUTIONARY ALCHEMY OF CREATIVITY
UNTITLED
THE EVOLUTIONARY ALCHEMY OF CREATIVITY
RISE OF THE ‘M A V R I C K H Y B R I D’
‘There is a crack in everything,
that’s how the light gets in.’
(Cohen, 1992)
NIXI KILLICK
2012
RMIT
MELBOURNE
Copyright © 2012 Nixi Killick
www.nixikillick.yolasite.com
RISE OF THE MAVERICK HYBRID
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RESEARCH
QUESTIONS
ABSTRACT
RESEARCH
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METHODS
L I T E R A T UR E
THESIS
THESIS
THE
REVIEW
OUTLINE
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BODY:
ART
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FASHION
NEXUS
Ξ Past Futures
Re - Contextual Capacities
Radical Openness
Orbital Body Atmospherics
‘F U T U R E -T I V E ’
I N N O VATI O N
Techno-Optimism
Imagineering
Contemporary Pastiche
Positive Deviations
MAVRICK HYBRID CULTURE
Hyper-culture Climate
Creative Escapism
Tacit Creative Domain
The Maverick Hybrid
REFERENCE LIST
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HOW
HAS THE AR T FAS H I O N N E X U S EVOLVED?
W HAT AR E TH E POTE NTIALS O F ‘ F U T U R E - T I V E ’ I N N O V A T I O N ?
HOW HAS C R EAT I V E E S CAP I S M DEVELOPED CONTEMPORARY PRACTICE?
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ABSTRACT
Symmetry of exchange within the art-fashion nexus has reached a pivotal synthesis with the emergence of implicit
creative constellations appearing at critical crossovers.
Operating in a perpetual continuum ,autonomous figures are throwing into question the established systems of
creative exchange and specialization.
This study outlines critical dialogue on a utopian expansion in body orbital progressive platforms; speculating
on the role of ‘future-tive’ innovation in creative escapism and how today’s contemporary climate is
embracing new spheres of deliberation.
Oscillating parameters have reached a point where creative ingenuity is challenging procedures and
material pathways within practice, operating on a lateral spectrum.
Evolution in the art-fashion nexus has recontextualized horizons, utilizing the body to engage and
challenge broader debates in negotiating a contemporary platform for expression and interface
within the critical discourses of visual culture.
Giving way to a radical impetus with the capacity for revolutionary departures into
unmapped territory, optimism in technology has prompted a cultural dynamism
where ambiguous characters can operate within a tacit creative domain.
Autonomous figures like Nick Cave, Leeroy New and Lucy McRae expand on constitutes
of the body, serving as a counter weight to establish maverick values and positive modes
of deviation as a paragon of hybrid culture.
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RESEARCH METHODS
Based on accumulative research orbiting evolution of the art/fashion nexus, the following dialogue poses an inquiry into the
lateral expansion of creative classification emerging from interstices of contemporary culture.
Centering on pivotal pastiche, alternate possibilities, ‘future-tive’ innovation and the conversation encircling the creative
domain, the effects of creative escapism on hybrid culture are recontextualizing spheres of practice.
Drawing from current figures, personal practice values and the associated cultural discourse
framing the hybrid maverick phenomenon, it presents an inquiry into the concept of
an ‘untitled creative figure’ to expand understanding of hybrid imagineering.
Examining how creatives are positioned amongst the contemporary debate, where the
art/fashion nexus arises, it brings into consideration the reactions and reception towards the
work and these figures themselves.
Groundwork for these inquiries is established through investigation into recent scholarship, drawing from relevant texts;
books, catalogues and journals alongside digital articles, films and current media, regarding optimistic views on creative
platforms, innovation and technology to gauge and compare opinions of leading voices across the creative spectrum.
Peripheral investigation into surrounding context, and contribution to the current creative climate, the thesis will outline
critical dialogue in the modern milieu concerning the art-fashion nexus and a utopian expansion of adjacent possibilities, speculating over the role of technology in creative escapism and mapping hybrid constellations towards a tacit creative domain.
It is presented as a coalescence of ideas and alternate trajectories , with the aim to utilizing this conversation
as grounds for legitimate personal practice and to communicate a justified creative ethos.
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LITERATURE REVIEW
Oscillating parameters between art and fashion have reached a point in
their juxtaposition where creative escapists have come to resist anchors and operate in elevation from archetypes. Giving way to a maverick impetus with the capacity for pivotal and revolutionary departures
into orbit of both the fashion and art millieu. Evolution in the contem-
How has an evolution in the contemporary art-fashion nexus recontextualized
past and future genre based limitations and allowed liberation from definition?
porary art-fashion nexus has recontextualized limitations and allowed
innovative technology to engage independently from descriptive
1
landscapes and discipline based definition. Operating across an open
dialogue of different practices to distil visions of potential in the
unfamiliar, creative’s are utilizing fashion as a way to engage and
What role has innovation in Future-tive technology and rise of the
contemporary artisan had on expansion of creative classification?
challenge broader debates and negotiate a contemporary platform for
expression and interface within the critical discourses of visual culture.
Within contemporary aestheticism, genre is immaterial. Liberation of
2
the creative consciousness from traditional paradigms has allowed a
cultural dynamism where ambiguous figures can operate within a tacit
How is today’s contemporary climate embracing creative escapism as a
tacit creative domain and an avenue for articulating maverick hybrid culture?
creative domain as maverick hybrids. An eruption of ‘holistic creatives’
has given obsolescence to definition. Labelling is transient, ideas are
paramount. With the creative ‘category kaleidoscope’ in flux, autonomous figures like Nick Cave, Lucy McRae and Stelarc expand set constitutes of fashion and art in relation to the body, focusing on straddling
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the genre lines of past and future creative practice.
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Current debates concerned with creativity and the future cultural dialogue between fashion
occupy’ prompting a consideration of ‘fashion systems’ and ‘art worlds’ as ‘symbolic
and art, promulgate a sense of ambiguous innovation. Central to this discourse is
agents’(2012, p.8 ). These overlapping worlds present a potential hyper-culture that enlivens
recontextualizing the ‘total work of art ’ (Wagner, 1849). The notion of ‘gesamptkunstwerk’
ideas surrounding practice, speaking about the trajectory in which creativity is framed, be
evades definition, here, it concerns a hybridized synthesis across creative practices, elevated
it fashion or art inclined in transgressing established borders. A ‘fundamental schism’in the
through unpredictable entities in the pursuit of ‘artwork of the future’ (Wagner, 1849 ). Karin
art-fashion nexus has prompted a utopian move towards explorative freedom across art and
Schacknat, further defines this concept in her essay Brilliant Utopias and Other Realities in
design, leaving an indelible impression on conceptual practice and aestheticism (Geczy, Ka-
Fashion and Imagination About Clothes Art , as ‘’a visionary thought construction or utopian
raminas 2012, p.6). Hybrids are challenging established principals through; ‘unconventional
impression of totality by an artist or designer ’. Suggesting, contemporaries operate with an
materials’ , departing from perceived notions of value and prestige, ‘violating ’ normative
unrestricted premise as ‘total concepts’ in a ‘period for mixing genres and hybridizing art
frameworks by utilizing ‘transgression’ and ‘pastiche’ to challenge basic conventions of
and fashion’. Richard Martin speculates on the evolution of creative classifications as ‘whole
‘making ’, and using ‘subversion’ and ‘surrealism’ to ‘desacralize’ icons in the stimulation of
and thrilling ’ where art and fashion ‘constitute the nexus of democratic social values and the
new perceptions ( Crane 2012, Cited in Geczy, Karaminas 2012, p. 102). Correspondingly,
clarifying aesthetic order ’ in a migration towards unknown creative platforms (2009, Cited in
Doppelganger Images of the Human Being offers ‘compelling permutations’ addressing the
Brand, Teunissen 2009, p. 26). A synchronised expansion over creative terrain has seen
human form, ‘obliterating classical proportions and visual traditions in doing so revealing
classical segregations dissipate in favour of a new ‘outsiderism’ with hesitation to quantify
further possibilities for what can be considered’ in fashion or art (Klanten, 2011). Referred to
work as belonging to either art or fashion. Cross disciplinary arenas encircle the fashion
as ‘Situated bodily practice’, creative’s manifest the body as a site for artistic inquiry,
industry and art world, generating new spheres of deliberation concerned with the expression
(Entwhistle 2001, Cited in Geczy, Karaminas 2012, p. 5) drawing on ‘exposure to a totality of
of ideas and embracing horizons. Branching organically across peripheral systems, regardless
sensual perception’ to pass into a speculative ‘realm of thought ’ (Schacknat 2009, Cited in
of existing genre constitutes, illusive to known archetypes, self proclaimed characters
Brand, Teunissen 2009, p. 314) . Capturing an extension of perception, creatives seek pictorial
participate in the cohort of ambiguous creatives. Adam Geczy and Vicki Karaminas, in Fashion
expressions that ‘transcend normative understanding of the body’ arguing that corporeality is
and Art, Critical Crossovers suggest that the ‘collapse of distinction between art and design’
critical in disrupting experience (Granata 2011, cited in Zidianakis 2011, p. 21) . Similarly, in a
‘is less in the objects, but the places of exchange- social, economic, linguistic- that they
‘physical manifestation of energy, a visual rhythm’ (Cave 2009), creatives ‘seek to establish
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what depicts a human being ’ through a utopian expansion that has promoted connections be-
creating “diaelectric” sites of ‘controlled conflict ’. Gravitating towards the body as an instru-
tween art and fashion, to strengthen and diversify, becoming more hybridized and ultimately
ment for experimentation and expression he fabricates ‘unexpected anatomical architectures
developing an entirely new and unfamiliar realm of expressive devices, modes and thinking
that perform remotely beyond the boundaries of skin.’(Kroker, 2005). The rise of the contem-
(Klanten 2011, p. 5).
porary artisan illuminates juxtapositions between tradition and technology, Utilizing hijacked
technology in conjunction with artisanal hands as empowering catalysts, traditional visual
forms are superseded and articulate relationships ‘beyond spaces of certaintly’, (Zurbrugg
The profound digital revolution has created a new language across creative practices, prompt-
1999, Cited in Massumi, Jones, Kroker 2005, p. 135). Paz Diman in The poetry of fashion de-
ed by innovation in technology. A ‘future-tive’ dynamic acts to both obscure and liberate
sign: a celebration of the worlds most interesting fashion designers, proposes that through
creative’s working in regards to a progressive hyper body.
a dialogue with the body, exploratory creatives ‘cover the certainty we exist ’ (2022, p. 7). A
New apertures for framing the existing body and exploring
unique visual vocabulary ‘not so much about ‘who I am’ but ‘what I experience’ is opening up
synthetic aesthetics move towards a convergence of
relative discussion surrounding interactions of hyper craft and the augmented body to ‘com-
‘techologized’ fabrications and human ingenuity directly
municate with concept driven culture’. (Gregg, Fox 2011, Cited in Zidianakis, V 2011, p. 9).
towards constructed doppelgangers, where human purpose
and proportion come under question (Quinn 2009, Cited in
Brand, Teunissen 2009, p. 260). ‘How can the human body
Universal creative emancipation has seen the dawn of multi-disciplinary
be optimized as an interface for digital communication?’
figures trans- fashion or art, creatives that are embracing an Integration
asks Klanten, reconstituting inquiries that have proliferated
of technology, practicing within the borderlands with a freedom in practice
across the art-fashion nexus debate but now, given the
‘ultra-rapid’ expansion of the digital sphere, are
that debases stereotypes and limitations within genre. Operating in an
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‘instinctual stalking of fashion’ hybrids, such as ‘body architect ’ Lucy
approached ‘seriously instead of speculatively’ (2011 , p. 7 ). Stelarc’s , ‘intimate and involun-
McRae work ‘in a primitive and limitless way[s] creating future human
tary interfaces with the body’ explore these tensions between man and machine,
shapes, blindly discovering low-tech prosthetic ways for human
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enhancements’ (McRae, Hess, 2007). Similarly, this
Andrew Huang navigate an ocular extension of expression,
‘man machine hybrid’ (Polhemus, 2011) is vividly
concerned principally with where ‘the body and thought
illustrated in Andrew Huang ’s conceptual film ‘Solipsist ’
converge toward a shared indeterminacy, together in
where intimacies between low tech and hi tech are at
sensation’ (Calefato 2009, Cited in Brand, Teunissen
their most exciting. With a ‘relentless ability to
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2009, p. 126). The elaborate body extensions of Justine
reinterpret elements and materials’ (Diman 2011)
Williams refract a visual noise that succeeds in disjointing
these figures alongside others like Iris Van Herpen
typical thoughts of the mediated body in motion.
and Hussean Chalayan are able to move beyond existing
Similarly, Hiromi tango and Nick Cave’s compositions utilize an
notions, through innovative future-tive technology as
enlarged intimacy to explore ‘feelings that are unnamed’ in moving
contemporary creatives .
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from the ‘familiar towards the fantastic’(Cave, 2009). Amongst this
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creative climate figures can exist independently within an innovative
discourse of embodied practice that evaporates ‘inhibitions and the
Today’s contemporary climate is embracing creative escapism as a tacit
vestiges of old world aristocracy’ (Graw 2009, Cited in Brand, Teunissen
creative domain and an avenue for articulating maverick hybrid culture
2009, p. 44). In ‘attempting to describe the potential and limits of the
through a common focus on the body. A new visual order is growing in
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hybrid culture where division is unnecessary and ‘imagination is [seen as] more important
than knowledge’ and definition (Cave, 2012). Diverging from any apparent need to legitimise
human figure’ (Zidianakis, 2011) Lucy McRae and Stelarc operate
intrinsically with the body looking at “alternate operational possibilities’
of new integrations with the world (Jones, 2005). Jose Teunissen’s
work, autonomous figures question the use of platforms and span across lines of past and
essay Beyond the Individual: Fashion and Identity Research in NOT A
future conceptions of practice, embracing the bodacious, irrespective of field, by subverting
TOY: Fashioning Radical Characters looks at using the body as a site for
tradition for rule-breaking and body technology, in doing so throwing into question tradition-
creative inquiry, where creatives explore the integrating spheres of the
al theoretical distinctions. Creative figures, like Nick Cave, Justine Williams, Hiromi tango and
individual and the world ‘reinterpreting and redefining [what the]
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human figure can communicate’. The body as a center of
over creative customs. Simultaneously, Kimiko Yoshida,
contemporary imagination, prompts a ‘critical dissection of present
Maria Blaisse, Levi van Veluw, and Madame Peripetie
regimes of bodily understanding ’ ( Kroker, 2005), articulating
create and capture hyper-human portraits that bring into
ruptures of bodily borders, maverick creatives have become ‘defined
question a reallocation of surface, projection and composition
by hybridity and transgression of borders but also by parody,
humour and inversion, that seems to be central to both’ art and
in regards to the established human body. These creatives
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fashion.The symmetry of exchange between art and fashion has
have become much discussed at critical crossovers, acting as
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pivotal figures in the discussion of ‘maverick hybrids’ and in
reached a freedom from stylistic disciplines to ‘revel and reinvent
a broader dialogue.
in continuum’ (ortas,2009) serving as a counter weight to establish
From this literature review it is evident there exists a common
maverick practical and academic values. New practices and
held confidence that these new hybrids ‘who refuse to
platforms for creative figures have a new energy, in exploring
compartmentalize their work and be restricted’ are
‘thresholds, zones of slippage and areas of interface, with anxiety,
shedding identities and creating new ones (Geczy, Karaminas
hope and desire (Zurbrugg 1999, Cited in Massumi, Jones, Kroker
2012).
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2005, p. 135). There exists a ‘handful of names of those who are not
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resigned to be restricted by limitations, but play , imagine and
create simply because they cannot stop’
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(Diman 2011). These above mentioned creatives
alongside; Aldo Lanzini, Rebecca Horn, Pyuupiru
and Agata Olek project subversive exercises in
established materials that suspend intended
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discordant work within a provocative dialogue
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THESIS OUTLINE
THE
ART
FASHION
NEXUS
INNOVATION
MAVRICK
HYBRID
CULTURE
Ξ Past Futures
Radical Openness
Techno-Optimism
Imagineering
Positive Deviations
Creative Escapism
The Maverick Hybrid
15
E
volution in the art/fashion nexus is radically expanding the contexts for
contemporary creative exchange. Progressive magnetism between the present
Bart Hess
Vs
Lady Gaga,
2011
and radically expansive possible futures is giving way to a maverick impetus
with the capacity for pivotal and revolutionary departures. Autonomous figures
like Nick Cave, Leeroy New and Lucy McRae are distilling visions of potential in
the unfamiliar, utilizing the body to engage and challenge in broader debates,
whilst negotiating a contemporary platform for expression and interface within
the critical discourses of visual culture. This energized dynamism is offering an
For this work
(opposite), Bart Hess
designed ‘Slime Art’
for Lady Gaga’s
Album and Video
“Born This Way”. In
this instance both
alternate dialogue, recontextualizing the parameters surrounding fields of
creatives represent
the epitome of
experimental hybrid
hybrid practice. Emerging potency in future-tive innovation is leveraging
practice in their
respective fields.
techno-optimism within creative expression, engaging in collaborative cognition
to extend imagination and construct adjacent universes of creative pastiche.
Creative escapism is cultivating empowering articulation in rising creative
spaces, where ambiguous figures collide and jostle in the construction of
alternate entities. Emerging imagineers operating in this tacit creative domain
are fostering transdisiplinary practices that are coalescing towards a synergy of
maverick hybrid culture.
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THE
ART
Ξ Past Futures
FASHION
NEXUS
‘Epiphany addict’ Jason Silva muses on the
new generation, print from the mysterious
Futurists at The Imaginary Foundation.
The Imaginary Foundation
The New Generation
2012
Recent evolution in the contemporary art/fashion nexus has recontextualized past and future creative practice, laterally expanding outsider dimensions in the creative sector. Fluctuating parameters surrounding fashion practice have been the subject of debates central
to creative classification throughout history and continue to stimulate a critical discourse. Since digital tools began to permeate design
culture creative tensions have dilated , prompting an invigorating and utopian expansion in adjacent potentials and uninstitutionalized
thought. Self-professed ‘wonder junkie’ and techno- optimist Jason Silva, at the 2012 Festival of Dangerous Ideas solicits the premise of
unbounded imagination
‘If we can imagine it , why not make it so’
saying ‘We are increasingly moving into universes of our own construction’. The possibles presented in symbiosis of past and future
practice project new and exciting platforms, acknowledging previous distinctive practice and bourgeoning radical new prospects for creativity. With respect to cultural elevations and without delving too much into established discussions on the art/fashion nexus a growing
anticipation is felt amongst the contemporary creative community accelerating present recognitions of fashion towards future projections. This unique moment [in artistic discourse] is truly cutting edge, the power of imagination to ‘preserve time-honoured practices as
they strive towards future forms’ has empowered positive articulative energy towards alternative trajectories ( Beylerian 2007, p. 18).
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In this context discussions deal with where the future is leading, with respect to, but without dealing with
retrospective collateral in grappling with a future vision. The contemporary art/fashion nexus has begun
de-conditioning assumptions in order to challenge and connect ideas to a sense to wonder. The future is in
the destruction of boundaries, and this combination of tradition and innovation is a good example of that.
(Waldemeyer 2011, P. 166). From the beginnings of visual culture imagineers have distilled visions of the
zeitgeist, actively evolving in synchronized symbiosis, punctuated by stylistic movements toward
conceptual consolidation and the idea of ‘a total work of art ’. In recent years traditional hierarchies
distancing practices and technologies have subsided, the ephemeral flow of fashion has disjointed
permanent structures in contemporary culture to create trans-disciplinary extensions. Creative
territories have always displayed an integral link to the agencies of the imaginative world, using new and
radical forms transposed with the manipulation of past models, the fashion/art nexus is pushing its
boundaries in communication, representation and technology to realize ideas that offer a tacit paradox.
“As fast as we can digest the socio-culture of contemporary society, it is superseded, as wide and as
diligently we pursue knowledge and truth, inevitably and actively it will grow, expand and change to always
be far beyond our awareness” (Dhingra 2004, n.p.). Through a metamorphosis of questioning driven by the
context of uncertainty , Creatives challenged venerable standards and refuted formulaic use of technique
and media to a point where work was indistinguishable, existing as an integral entity. These became foundations for a growing momentum towards a more conceptual autonomy ‘transforming the traditions of the
past into fresh inspiration for the present, they signposted bold new direction for the fashions of the future
( Quinn 2012, p. 6).
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Contextually, fashion systems and the art world have always existed amongst complex networks of connection. Now, in an age of
exponential growth, perpetual innovation and the democratization of information, creatives are ‘forging new directions [that] demand
a new dialogue’ (Monem 2008, p. 45). Probing alternate spaces of practice, these figures are not bound to literal meaning in developing
a new and enigmatic discussion around fashion that is both transformative and ubiquitous. Using practice and conceptual explorations as
an articulate terminology, current contemporaries are developing intuitive language to visualize the unknown. Hybrid creatives are
recontextualizing past and future ideas around practice working through rapidly morphing visual codes and vocabularies punctuated by a
‘bold new attitude and a sense of humility that accepts the ambiguity of cultural reality tunnels’ (Silva 2012). ‘Rational Optimist ’ Matt Ridley in
his TED talk ‘What happens when ideas have sex’ talks about an ‘evolving spontaneous order coming about through free exchange and specialization’
(2010). The growing importance of creative singularity has radically redefined the dynamics of exchange; creative processes embracing innovative
potentials and expanded interactions with technology are discovering new codes of hybrid practice. ‘ The digital revolution is unleashing an entirely
new set of paradigms and perspectives for the future - involving cybernetic, non-linear processes which cut across and interconnect all areas of
material life’ (Plant 1997, p.110). Frequently adopted and more digitally integrated modes of creative production are appearing at peripheral spheres,
emphasising the possibilities for collaborative contexts. Significant developments in high-tech techniques, smart substances, intelligent interfaces
and sensory surfaces are radically redefining the world we live in.( Quinn 2007, p. 6). The rapid expansion culture of today is broadening perspectives
and promoting an inquisitive challenging of fundamental frameworks. Visionary expressions through new and reclaimed media instil a limitless sense
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of potential possibilities. Stepping beyond social encoding, the contemporary creative process cannot be defined as it could in the past. Untitled
creative figures can now draw from a far more diverse spectrum, a blur
of hyper culture distorted by technological evolution and optimistic resonances leaving an indelible impression on process and practice moving
towards a type of pioneering pastiche. Unprecedented access to information and productions, utilizing the public platform demanded via the fashion system, hybrid creators of contemporary culture propagate their imagery to a global forum unreachable until now. The instantaneous nature
of modern communication facilitates a new virtual creative consciousness
to articulate a pictorial representation of current concerns through visual
culture. The effect of these creative diversions has been pivotal dialogue,
leading to an inevitable eruption of holistic creativity and drift from
segregation, moving towards a reconciled and maverick hybrid-culture.
Where, we ‘have the capacity to transform our way of life more radically
now than ever before’ (Quin 2007, p. 6).
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Radical Openness
Charles Leadbeater says, in TED Talk ‘the era of open innovation’(2005), ‘the whole domain of creativity is expanding ’, Lateral evolution in the creative sector is broadening interdisciplinary collaborations and radically reinforming
‘Co-creative platforms’ ( Quinn 2012, p. 132). Contemporary expansion in all areas of creative culture fed by catalysts like technology and the internet are seeing a reassessment across society and culture. A generational shift has
shaken established paradigms and ushered in an open source generation, passionate about emerging creative spaces and dynamic exchange, embracing integrated authorship and constantly questioning existing contexts of practice. Ray Kurzweil states in The accelerating power of technology ‘ The paradigm shift rate is doubling every century’, Visual form and culture has been expanded to a state of possible infinity, giving way to a maverick impetus
with the capacity for pivotal and revolutionary departures. Conceptual modes of expression create platforms for
work to pose fundamental questions and interface with the world as they jostle and collide in the construction of
a reality, actively engaging with the discourses of the zeitgeist. Jason Silva suggests
‘We need to cultivate ‘radical
Leeroy New
Vs
Kermit Tesoro
2010
openness’ as a way of participating and accelerating evolution… and in the words of Tim Doody, “re-contextualize
one’s self as a marvellous conduit in a timeless whole, through which molecules and meaning flow, from nebulae to
neurons and back again” (2012). Advancing enthusiasm in these developing alternate possibles is enlivening cross
cultural expression within a global creative framework, moving beyond formal codifications to embrace methodology and medium as a vehicle for inspiring conceptual deliberation and integrity. Leeroy New is a contemporary
Collaborative collection
between Leeroy New
and Kermit Tesoro
(above), utilized and
coalesce of sculptural
practices and unusual
materials like silicone
and cast plastics.
creative practicing with what has been termed ‘maverick materials’ in Bradley Quinn’s fashion futures (2012, p. 92).
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Working with the body as a sculptor, artist, and designer he
channels a disparate gathering of unexpected practicalities
through a resolved conceptual vision, practicing what he describes as an ‘attempt to overlap and intersect with the different
forms of visual arts including film, theatre and fashion’ (2012,
About). This type of open source model ‘will start emerging with
tremendous force’, as an ‘explosion of creative collaboration’
says Charles Leadbeater (2005). Leeroy New ‘regularly seeks the
occasion to present his work whenever, however, and wherever
he feels like or is allowed to in the hopes of ‘affecting ’, more
rather than less.’(2012, About). Moving towards individualization
of practice, New works in an unknown yet accessible synergy of
coherent combinations, working towards a realization of innovative environments, operating independently from any descriptively contained dialogue. This ambitious attitude is becoming
more prolific amongst inquisitive creatives where a sense of
‘radical openness’ is evolving through “exploration in new processes and new materials [that] enable fashion to move forward’
(Herpen, I 2012, p. 50). As Hussein Chalayan said at The Art of
Fashion: Installing Allusions symposium “Who cares whether it is
art or fashion, all that matters are the ideas’ (2009).
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Through evolution in the art/fashion nexus, attempts to visualise the relation
between body, space and motion has propelled the ‘human canvas’ to the
forefront of life, the body as a universal catalyst for imagination, ‘integrating the
spheres of artistic lives (Wood 2007, n.p.). Significant expansion of hybrid
practice revolves around the body and articulated reincarnations of the body as
the singular constant context, acting as a broader fundamental link across
diverse forms of creation. Limitless configurations in creative methodology
orbit the body in its physical or conceptual forms. By suggesting an alternate
vision (integral or subordinate) for addressing the body, and moving frontiers
into alternative platforms, these autonomous figures ‘have changed the way we
see and categorize ‘creation’ (Takeda 2008, p. 26). Creative radiation centres in
identity and physicality, an exploration of the ocular extension of self and the
body as a device for negotiation in realizing form. Yinko Shonibare, Pyuupiru,
Kimiko Yoshida, Ted Sabarese and Philus Gelabo straddle different identities by
interweaving threads of their creative modes through their work as part of the
visual language.
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Among these visual renegades is Soundsuit pioneer Nick Cave, who’s material
use of wearables to stage the body, radically questions ideas around
personal perimeters. Cave’s work has become a paragon of the
maverick creative, stitching together hybrid disciplines in a
sublime rendering of both transformative and connective
contemporary pictorial vessels. Categorized as wearable
sculptures he says, ‘I believe that the familiar must move
towards the fantastic. I want to evoke feelings that are unnamed,
that aren’t realized except in dreams’. Cave explains the suits as a
‘physical manifestation of his energy, a visual ritualism transforming the
intimate sphere encompassing the body’ (2008). These body practitioners or
imagineers are honouring this intimate exchange, looking at alternate ways in
which to ‘map out the body on levels other than size and shape’ (Michaels &
Kjelstrup-johnson 2012, p. 166). The spectacle and discourse surrounding the
various visions of the body has established it as an ephemeral ‘place of a public
debate’ (Orlan 2012, Biography). Erin Manning says in Relationscapes:Movement,
art, philosophy we ‘continuously reinvent what the body is and can do’ (2009,
p. 75). In a contemporary context body based creative work become’s the physical
rendering of a concept, where function and aesthetic reconcile over dimensional
forms.Increasing technology hijacked by the contemporary creative has encouraged
limitless exploration of the progressive body, constantly catalysing interactions and
developing alternate dimensions of the body.
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‘Garments are beginning to be characterized by hybrid forms,
and are in themselves emerging as complex, multifaceted hybrids’
(Quinn 2012, p. 98).
Iris van Herpen
Vs
Isaie Bloch
2012
As part of her “Micro”
Collection, Van Herpen
collaborated with
designer Stephen Jones,
artist Bart Hess,
architect Isaie Bloch,
and graphic designer Tara
Doughans on this piece.
Fabrication of the design
was achieved on 3D
printers, using laser
sintering and metal plating.
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Nancy Tilbury’s ‘body atmospherics’, Christophe Coppens’ ‘wearable interactive interfaces’ and Iris van Herpens
ideas on future dress speak of rapid assembly particles and wearable vapour or radio waves. On the other hand,
a paradoxical body mobilized by thought, The Imaginary Foundation, a Swiss think-tank conducting experimental
(Bottom Left )
Christopher Coppens
No Reference
1969
research on new ways of thinking and the power of the imagination, are utilizing clothing and the body as a conduit
for bridging academic ideas to popular culture.
‘Translating ideas into consumable formats for the new generation’
engaging the art/fashion nexus through the value of the body in wider investigations (2012, About).
(Below)
Nancy Tilbury
Digital skins/
Body atmospheres
2009
(Right)
Imaginary Foundation
n.d.
26
27
28
Techno-Optimism
INNOVATION
The mysterious unidentified ‘Director ’ of the imaginary foundation reminds us that ‘the
future is CREATED’(2012, About), in moving forward creativity is taking on other meanings,
embracing the ‘Future-tive’. Defined by; progressive magnetism between the present and
radically expansive possible futures; empowered collaborative cognition with technology to
extend imagination and construct new adjacent universes of creative pastiche both practical
and psychological; and leveraging technology in the cultivation of empowered articulation
within creative expression. The emergent hybrid creatives and indeed the zones of slippage
in which they negotiate, are motivated by an instinctual future-tive drive for innovation,
harnessing the capacity to spark new trajectories, new specializations, and alternate ways
Nancy Tilbury
In STUDIO XO
Stolichnaya Vodka
2012
of thinking and doing true to the very definition of innovation. The associated ‘ Techno-optimism’ within contemporary culture is empowering and challenging creative infrastructure as
Commissioned for a unique wearable
technology for Stolichnaya vodka’s
an ‘extension of our thought, reach and vision’(Silva 2012). It is building confidence around
advertising campaign The Most Original
Night, Nancy Tilbury and studio XO
integrated practice systems and absorbent ‘combinatorial ideas’ and is platforming techno-
were commissioned to design and build
an explosive paint spraying suit and a
pair of interactive multi lighting DJ head
phones.(opposite)
Tilbury’s ‘Digital Draping in progress.
(Above)
optimistic attitudes that form the crux in pioneering future-tive innovation (Romer 2001, p.
5). As we seek to ‘navigate the immaterial realities of our digitally disembodied age’ technologies both digital and rudimentary initiate exchange and specialisation (Handley 1999, p.16).
29
Emerging out of rapid progressive technologies, the mark of contemporary
times, techno-optimism is embracing alternate approaches to the idea of
body additive systems. Creatives like ‘wearable technologist ’ Nancy Tilbury,
‘technosensualist ’ Anouk Wipprecht , and ‘body architects’ Lucy McRae and
Bart Hess are capturing visions of potential through imaginative superlative
structures that explore an intimate technology interface and prosthetic augmentation. Parallel to that of pseudo-sci-fi experimental body sensationalist
Stelarc and his visions of the body as
‘a nexus of collaborating agents, now
perform[ing] beyond the boundaries of skin
and beyond the local space that it occupies.
Stretched between what it never was and
what it could never become…hovering between gravity and fantasy, intuitively’ (Stelarc 2012, Projects ).
Visionaries in the self replicator revolution, Freedom of Creation are now
mapping this material dexterity through additive manufacturing technology,
utililizing the internet to embody a collective intelligence and expanding the
availability of rapid prototyping technologies. Similarly V2_Institute for
30
Unstable Media! are providing a platform for exploration into the capacity of adjacent capabilities through positive interactions with technology and the body,
looking creatively at the what Silva refers to as ‘outsourcing cognition’(2012).
Sophisticated emergent technologies affecting the context of the body such as
reactive perceptual and multi sensory hyper-surfaces, electronic textiles, biotechnology and bodymetric avatars are amplifying imagineering potentials as
‘Information technology is increasingly encompassing all of out lives’ (Kurzweil
2005, Talks). Fashion Laboratory STUDIO XO champions digital and physical intimacy in body to body fashion technology,
‘establish[ing] original means of manufacturing to regenerate methods for
fashion creation, questioning our personal relationship to the body in the
21st century’(2012, Title).
(Above)
Phillips Design
Bubbelle dresss
2006
Expressing that the embracive emergence of alternate interfaces and use of
‘technology is enabling fashion design to move closer to a magical ‘amalgam’
area’ ( 2012, p. 52 ) and like other hybrids working in this innovative future-tive
sense they are optimistically ‘refuse[ing] the premise that fashion and material
intelligence should be separate entities (Chalayan 2007, p. 132).
Lucy McRae, Bart Hess and Nancy Tilbury in
association with Phillips Design teamed together
on the experimental Bubbelle blush dress
(above), it is an investigation into the expression
of emotion and personality through reactive
wearable technology.
( top left)
Freedom Of Creation for
Onitsuka Tiger
Rapid Manufacturing
Electric Tigerland Shoe
2010
31
32
Imagineering
‘Were on a trajectory smack in the middle
between the born and the made’
says Kevin Kelly (2010, cited in Silva 2012), coalescing visual scope at the intersections of ‘Fashionable technology’ (Seymour 2000). The juncture of calculated technology and artisanal imagination is becoming more intrinsic as interdisciplinary domains
broaden. The contextual alignment of hand based practice and recontextualized technologies in a climate of turbocharged hyper culture is amplifying imagination like never
before, machine-human interfacing techniques are unveiling radical new potentials for
next generation ‘wearables’. Referred to as the ‘expanding technium’, the technological domain continues to broker simultaneous emerging platforms for exchange, whilst
spurring new configurations in materials and methodology (Kelly 2010, p . 345).
33
Celebrated for his progressive attitude, critical thinking and a taste for
Hussein Chalayan
Video dress
2007
breaking boundaries, Hussein Chalayan’s work traverses imaginative culture,
resonating with an innovative edge that charges at the forefront of radical
practice to, as he says, ‘embrace all worlds’. Forging unexpected alliances
in a collaborative rendering of ‘inert material with living breathing flesh’,
having to ‘become more and more cross disciplinary to express [his] ideas’
(Chalayan 2007, p. 133). Of a similar ethos, self proclaimed ‘digital fashion
designer ’ Shara Hayz experiments with electroluminescence in the fashion-
(Below)
Celia Arias
Futuritial
2012
ing of what she calls her ‘future tribe’.
George Beylerian says in Ultra Materials, ‘ There is something special about
the pure power of the human hand coupled with imagination, versus the
awesome power of technology and innovation’ (2007, p. 20). As material sciences emerge, identifying opportunities for explorative pastiche, artisanal
practices can be embellished by future-tive innovation. The input – output
exchange amongst these compositions is reconfiguring the constitutes of
wearable culture, ‘visualize[ing] narratives that will craft as yet unknown
worlds (Tilbury 2012, p. 141). Universal progression is also encouraging a reinterpretation of established modes of creative expression. Generative renegades are colliding hand based pastimes with future-tive notions surrounding the body, using the past to spring board into future spheres of cultural
context and spatial dimension. Technology can characterise itself in material,
methodology or machinery. More conceptually, if the role of technology is
34
to effectively generate accelerated ideas, technology can take the form of thought.
Analogous figures like Aldo Lanzini, Agata Olek and in Sibling Knitwear are bringing a
more centralised dispersion to hyper craft, disjointing intended material uses, warping embeded frameworks and interjecting innovative procedures into an alternate
context. Situating sensual crafts characterized by the hand within the disembodied
proportions of future-tive scope.
‘The way of hands is personal,
contextual and indescribable’
and in collaboration with technology and
technological thought it is infinite
(McMullough 1996, p. 30).
Correspondingly Una Burke describes her practice as the constant pursuit of creating
indefinable objects, ‘preventing conventional categorization… free to exist, interpreted independently’ (2012, About). Through the use of traditional leatherworking techniques Burke encourages a forward thinking approach to craftsmanship,
anticipating technology as an enhancive extension on the senses, ‘thereby offering
limitless applications’. Convergence between creative practice and technoscience
is moving visual culture towards infinite collaborative discourse, spurring ulterior
imaginings into existence as innovative capacities are extended though outsourced
35
alliances. Encouraging what artist-philosopher Erin
Manning deems to be ‘a fast developing domain
of hybrid theory-practice’, further postulating that
creatives seeking the unknown, ‘will further develop
these currents in original ways’(2009, p. 3).
36
As part of her “Micro”
Collection, Van Herpen
collabor
Iris van Herpen
Vs
Isaie Bloch
2012
Accumulative knowledge surrounding the contemporary capacity to create, almost limitlessly, is seeding radical unleashed imagination. In plotting the unknown, creatives have evolved responsively, adapting towards
alternate aesthetics in a future-tive pastiche. ‘Fostering alternate avenues for thought and experimentation
that are presently compelling tendencies’.(Manning 2009, p. 4). Retrospective of traditional aesthetic theory,
contemporary artisans are unveiling critical reengagements in justifying hybrid endeavours , bridging across
shared threads of the creative sector in a way that promotes a mutual branching and progressive expansion.
Creatives like Celia Arias, Madame Peripetie, Roberto Piqueras and Miss Fitz situate themselves as a net over
multiple creative systems, channelling a distilled vision from interactive and multi-contextual domains of inquiry. Developing instinctually these creative characters work in infinite ways, capturing a cultural dynamism
in ‘their need to reveal and reinvent in continuum,” (Orta, 2009). This collective exchange, as Matt Ridley
asserts ‘makes cultural change cumulative’, while ‘specialization has becomes the means by which exchange
encourages innovation’ (2010, Talks). Described by Nick Cave as ‘the act of collecting and reconfiguring ’,
contemporary practice actively promotes integrated ways of working (2008, p. 22). In a climate where ‘imagination is more important than knowledge’ the ideas trade manifests itself at the core of an orbital revolution
(Einstein 1929, p. 17). With boundless methodologies, invented or transposed, coupled with a receptive approach to maverick materials, creatives like Iris Van Herpen are pioneering radical interpretations of
37
exterior practice into a fashion based sphere. This complementary between
future-tive thought and innovative possibilities of action is challenging the exclusivity of domains by ‘integrating technology driven concepts’ (Tilbury 2012,
p.140). “ Technology creates new design possibilities and innovative materials ‘says Van Herpen ‘a totally new generation of ‘super ’ materials that do not
exist today’ (2012, p. 50). Able to approach practice with an expanded scope
the contemporary artisan is increasingly multi-faceted, conducting explorative
interfaces within other disciplines and embracing wearable investigations driven by enlarged technological influence. Coming from exterior practices to body
based expression periphery-hopper Andrew Huang operates in the ethos of an
unnamed expression, his conceptual film Solipsist orchestrates a necessarily
interdisciplinary profile. Armed with a more prominent perceptive absorbency
genre collage contortionists, like Huang, are empowered by the momentum of
technology and the culture of radical change. Mutual absorption and projection
of practices, interchanging influences and gradual osmosis between modes of
expression has orchestrated a new generation of articulate visionaries, ‘more
interested in raising questions, than giving solutions’ (King, 2001, n.p.). Dilution
of traditional distinctions is promoting a greater transparency laterally across
the agencies of the creative sector, the current context of hyper culture is bourgeoning explorations into organic extensions and future-tive bodies, provoking
shifts in perspective and alternate constellations of creative interface.
38
Positive Deviations
The reflective dialogue between spaces of expression has played an instrumental role in the utopian expansion of a ‘world cultural space’ ( Casanova 2005, n.p.) ushering in what the Imaginary
Foundation triumph as ‘a supermassively parallel collective consciousness’(2012, About). Phenomenal expansion within creative classification has exponentially broadened matrices of imagination. Extending connective capacity amongst hybrid relations, whilst fostering ‘radical openness’ and the potential for optimistic anarchy. Through pivotal permutations a revolutionary alignment
amongst creative mapping has engaged the accelerative power of exchange and specialization. Ultimate transparency is energizing multi disciplinary figures in the pursuit of infinite imaginative
platforms,
‘intending to address certain rising tendencies in each field and to place them into communication with each other in a way that brings to fuller expression affinities among them that are
already stirring.’ (Manning 2009, p. 4).
Technology has orchestrated a convergence towards specialization that has perpetuated to the point at which existing categories are too narrow, becoming obsolete as hybrid fields emerge as independent entities. The overarching nature of the technology age is its rapid evolution of knowledge, in conjunction creative ethos has mirrored this perceptual expansion and begun to diversify
exponentially. Developing platforms that elevate collaborative cultures and present alterative potentials reiterated by Steven Johnson in the Genius of the Thinker saying
‘The adjacent possible is a kind of shadow future, hovering on the edges of the present state
of things, a map of all the ways in which the present can reinvent itself’ (2010, para. 9).
39
Creatives have mentally and categorically developed beyond existing frameworks, developing a new compilation style system for moving forward. For instance imagineeers Mika Satomi and Hannah Perner-Wilson in the collective KOBAKANT utilize the dynamics of conversation between textile crafts and electronics to make subversive comments on technology and craftsmanship and
their respective stereotypes. Coming to advanced realizations of quite esoteric concepts, ‘KOBAKANT believes that technology exists to be hacked, handmade and modified by everyone to better
fit our personal needs and desires’(Satomi & Perner 2012, About). This faith in the techno-creative dialogue to effectively generate accelerated ideas, is the crux of their online database how to
get what you want, sharing their do-it-yourself wearable technology ideas in an infinite context. Sharing as ‘the mechanism that propels culture forward’ has been afloat the cultural drift towards
openness, working towards global systems of exchange stimulated future-tive innovation (Imaginary Foundation 2012, About). As Thomas Paris says in Creative innovation:individual leadership
and collective intelligence, ‘there is a surprising ambiguity in these sectors between an extremely collective dimension to these activities, and a primacy of individuality’(Rapid innovation in digital time 2011, article 1) . Active platforms and their networked manifestations of affinity-based culture are reworking the idea of the individual, to ‘Challenge, explore and celebrate the infinite
possibilities of creativity’ (Miake 2012, p. 38). An alternative way of thinking has emerged alongside operations in the grey space with cross-creative hybrids, emergent shifts underpinning these
developments and synergies are sparking radical changes that ‘we would like to see more of ’ (Tilbury & Wallace & Males 2012, p.52)
KOBAKANT
The Crying Dress
2012
40
The crying dress is an experiment into future projections of electronically interfaces attire, specifically an
extravagant electronic funeral gown. It involves integrated electrical transport systems functioning to achieve
the affect of emitting tears.
41
MAVRICK HYBRID CULTURE
Global expansion and the development of creative escapism in contemporary practice have created a new cultural dynamism. Ushering in alternative constellations of creative diversity,
fuelled by ambiguous figures like Nick Cave, Leeroy New and Nancy Tilbury. Perceptual expansion and the incentive to innovate characterizes the contemporary climate, coupled with the
advanced infrastructure and connective capacity of technology, creative fields have reached a sense of cosmic significance. A range of ‘immersive technological networks’ , dubbed the
‘technological singularity’ in Design Futures by Bradley Quinn, are prompting radical exchanges between methodology and materials (2012, p. 170). Proliferating a new dynamic, evolving
out of body based application and extension, unique metaphors are forging exciting applications and places of practice. Increasingly intuitive, current technology has become a developing
avenue of creative escapism coalescing towards postmodern magic and the realization of unimaginable possibles, made believable through achievements, thought impossible, untill the empowering miracles of modern technology. Global connectedness via the internet, shape-shifting forms of social media and radically open communication, environments have expanded the
accessible infinity. Prophetic author William Gibson’s term cyberspace (1986) has been a beacon for the most wild of possible futures, which today is realized in multiple realities as a great
sociological ignition. Contemporary hyper-culture is encouraging a climate of radically hybridized platforms with which to engage creatively, raising a universal investigation into identity,
globalization and creative culture giving rise to hybrid dimensions. Context of creation has never been more open-minded, more capable of cultural transmissions, never more passionate
about progressive platforms.
‘In the modern world, innovation is a collective enterprise that relies on exchange.’ says Matt Ridley (2010).
42
Cumulative sophistication of the contemporary consciousnesses, awakened through the power of Imagination is establishing a rapidly shifting
landscape of ideas. Fashion based company CuteCircuit driven by Francesca Rosella and Ryan Genzn, are pioneering interactive technologies,
merging anthropology and interaction design with smart textiles and micro
electronics to create patented wearable technologies. CuteCircuit gives
an insight into the contextual atmospherics of functioning hybrid practice and progressive attitudes in current design spheres. Rosella says ‘We
are bringing the digital age to fashion, creating connected garments that
work like magic’, Interested in ‘innovation and intellectual exchange’ and
adapting tools to a new way of working (2012, About). It is clear that now
more than ever ‘History repeats itself showing that radical thinking threatens established hierarchies, synthesis[ing] into new ideas that challenge
complacent traditions’(English 2007, p. 2), and that amongst this contemporary climate ‘the future is already here it ’s just not evenly distributed’
(Gibson 1993).
CuteCircuit
U2 World Tour
2009
CuteCircuit teamed up with rock bad
U2 and designed four specific jackets
for the 2009 Worldwide 360º Tour.
43
Creative Escapism
Creative culture has reached a critical precipice in the evolution of expressive practice, were the imagination rules like never
before. Progressive attitudes towards future-tive change are invigorating an all embracive hunger for the spark of uncertainty.
Moving beyond established modes into a perpetual open state, creatives are forming escapist possibilities for culture jamming.
Interdisciplinary synergies and immersive technology are coaxing visions of a progressive hyper culture, a merging of the known
and the unknown, the physical and the virtual. Trans-disciplinary characters like Levi van Veluw and Pyuupiru are commenting
on this relationship between space, the body and creativity, a collision that is producing remarkable ripples in creative escapism to espouse a global idiom of future-tive exploration.
The hybrids at the imaginary foundation say
‘To imagine is to perceive many potential futures, select the most
delightful possibility, and then pull the present forward to meet it.
Remind[ing] us that reality is malleable and we are the architects of our
o w n f a t e ’ (Imaginary
Foundation 2012, article 3).
A sentiment characterizing the utopian ideals and positive potentials of future-tive innovative practice. Contemporary escapist
imagineers’ are driving unique convergent compilations, empowering further articulations through a reconsideration of cumulative multifarious dialogue. Manifesting amongst disparate creative cultures, contemporary escapists are highlighting paradoxi
44
cal optimism in the volatility orbiting reality. Contextually fuelled radical openness is continually creating alterative universes to ‘think for yourself and question authority.’(Leary 1989). Moritz Waldemeyer notoriously uses innovative fusion, proliferating fashion engineering though pivotal collaborations punctuated with original patterns that subsume previous paradigms. ‘I really enjoy looking for
inspiration in unlikely places and bringing ingredients into the design world that seem to be unrelated’
he says (2011,p. 166). Waldemeyer echos the totality in creativity that is offering a convincing escapist ethos, assembling differential distinctions with progressive confidence. The mobilization of imaginative discourses is accelerating the expanding spheres of possibility, unleashing fresh formations of
expression and creating a palette of intermingling creative spaces. Hybrid figures inspiring riveting
transformations are ‘becom[ing] entangled in empathy, absorbed in altruism, deified through diversity, and cajoled into cooperation’ declares The Imaginary Foundation(2012, article 4). A total lifestyle
that carries insights forward towards creative conversations around unexplored modalities of practice,
escaping the known through contemporary incarnations of the sophisticated and the rudimentary,
through raising amplitudes around organic exploration in visual alternatives. Exploration around the
apparatus of a future-tive unknown, prompts consideration of unfamiliar landscapes in manovering
the visual spectrum through the body in wider investigations, recontextualizing materials and embracing the art/fashion nexus to visualize hybrid projections. Through juxtaposition of hybrid and advanced technology with nostalgia of hand, visions are projected and absorbed at the intersections of
creative margins. Creative escapists are synthesising unbounded imaginative experimentation and an
empowered articulation of technology, opening up a dialogue for distilling visions of potential in the
unfamiliar to challenge broader debates and future-tive scenarios. Propelling the territory of danger-
(Above)
Levi van Veluw
Experimental Beauty
2011
Hundreds of lasers were
integrated into each piece,
(Bottom right)
Moritz Waldemeyer
Hussein Chalayan
laser outfit
2008
to move, transforming the
dresses from static objects
attached by custom-designed, servo-driven brass
hinges. This allows the lasers
to living, ephemeral forms
that constantly change, interacting with the space around
them. The result is one of the
most dynamic examples of a
new fusion, where fashion
and design meet, each enhancing the other.
ous ideas toward resonances of disruptive wonder, open to multiple directions in form and content.
45
Unspoken yet understood, self perpetuating contemporary creatives are ushering in a tacit creative domain. Interdisciplinary hiatus erupting amongst the art/fashion nexus has disrupted existing avenues of articulation, prompting
a ‘radical empiricism’ that poses questions around ‘how practice provokes new ways of thinking, and ultimately, of
living in the world’ (Manning 2009, p. 4 ). Actively fluctuating parameters amongst creative contexts have necessitated alternate spaces to exist creatively, adjacent to preemptive practice. Active continuity in cumulate culture has
prompted realignment in creative trajectories, allowing de-framing within practice to offer additional conduits for
hybrid expression. Sabine Seymour in her book Fashionable Technology credits the ‘model of open innovations’, as a
culture tunnel where ‘ideas can be shared openly’, a freedom in exchange that enables creative’s to ‘develop in their
own way’(Seymour 2008, p. 164). This symbiotic platform has come to empower hybrid practitioners as independent
entities following a grand osmosis across all constellations of creativity. The contemporary enthusiasm over radical
openness and free flowing ideas is rapidly diversifying expressive escapism, propagating a myriad of combinatorial
prospects with which to specialize imaginative focus. This unexplored collage of terrains is grounded in a movement
towards utilizing collective consciousness to boost individuality towards future-tive instillations of innovation. The
principles of this tacit creative domain revolve around a resolute integrity, propelling individual practice towards its
own evolution. Imagineers are moving forward with a totality of expression gleaned through collisions of expanding
thought and the means through which to channel these ideas; Liberating works from a necessity to preconceive or
even understand what it is that is developing, where it has come from and where it will lead, putting a growing
46
emphasis on faith in the process. Emerging escapists are channelling their
own convincing integrity, and releasing from clarifying structures to float
within an unfounded optimism and create spaces where ideas can have
sex- as it were (Ridley 2010). Embracing what Marcel Wanders on Droog
design calls the ‘unexpected welcome’ (2007, p. 102), Having the faith to
leap forward out of carefully constructed paradigms and foster uncompromised channels of thought and their respective application to materials, methodologies and relationships surrounding the creation of ideas.
Contemporary reconceptualization of aesthetics within the tacit creative
domain has nudged open collective consciousness, circulating more widely and continuing to contribute to the discovery of alternate potentials
within imagination. As momentum builds towards multiple converging
platforms, rapid and explosive expansion of the tacit sphere is projecting the emergence of a infinitely singular transparent platform. Oscillating parameters within creative practice have begun to embrace exchange
and specialization extending possible platforms into an implicit realm of
imagineering.
47
The Maverick Hybrid
At the Culmination of the contemporary art/fashion nexus,
emerging though escapist interstices and techno-optimism,
creative figures developing future-tive innovation have
emerged as pivotal visionaries in the rise of a radically open
maverick hybrid culture.
Maverick hybrids are surfacing in the formation of expanding
constellations, alliances between these ‘cultural creative’s’ is
formulating an influential movement of emergent transdisciplinary imagineers ( Ray & Anderson 2000, p. 1).
Mavericks like Nick cave, Leeroy New and Celia Arias are
revelling in the evolution of personal technologies. Both in
their practice processes and through recontextualizing
material investigations, the work captures powerful
exuberances through lucid displays of imaginative
impulsiveness.
Similarly, an interdisciplinary hijacking of material streams
48
has allowed ambiguous figures like Lucy McRae, Stelarc and the Imaginary Foundation to utilize the body in platforming different thought
processes, both as an agency for interface and infinite transformative site. Bringing to the forefront alternate possibilities for existing mechanisms.
The ingenuity showcased by Hussein Calayan and Iris van Herpen in integrating hybrid technologies from alternate domains, is suggestive
of orientational capacities but not bound by them, presenting radical versions of techno-induced wearables.
These hybrids are pioneering unparalleled modes of positive deviation, enveloping creative practice within an infinite evolution.
Using the body as the context for creative exchange, maverick hybrids constitute themselves as an ambiguous pastiche, morphing
their creative constitutes through experimentation. Challenging procedures and material pathways within practice and operating
on a lateral spectrum, maverick hybrids place provenance in ‘revelatory ecstasy’ and future-tive innovation (Silva 2012).
The emergence of alternative outlets for exchange both virtual and physical, prompted an instinctual challenging of institutions,
leaving undercurrents of radical and disruptive innovation. Negotiating creative branching towards a bursting canopy of
expression, hybrids are articulating a utopian freshness, adjacent to the possible and impossible.
‘As they imbue creativity with extravagance, imagination and symbolism,
they make space for brilliant colours, rich textures, unexpected finishes
and lavish motifs.(
Beylerian 2007, p. 18).
Amongst contemporary ideas hybrid innovation presents an optimistic uncertainty. In the context of hyper culture and radical
openness maverick creatives are a paragon of progressive change. Cultural and technological evolution are propelling systemic shifts in
creative infrastructure prompting momentum towards creative escapism, moving imaginative practice into a tacit domain. ‘Pave[ing] the way for a future of
interdisciplinary platforms, in which people from a wider range of professional affiliations have a voice within ideation spheres’ heralds Bradley Quin in Design
Futures (2011, p. 210). Expanding upon the creative constitutes of the body, hybrids are establishing maverick practical and scholarly values as a paragon of
future-tive innovation within creative practice, leaving the future as the only certainty of contemporary imagination.
49
The symmetry of exchange between creative practices has expanded to expose hybrid spaces within the interstices of contemporary culture. The infinite evolution of creative
constitutes is rapidly expanding the capacities of the art/fashion nexus, fostering optimistic interfaces that intersect at creative body margins. Pivotal dialogue between ambiguous
figures is propelling a kaleidoscope of future-tive innovation with the capacity for positive deviations into the tacit creative domain of maverick hybrid culture.
As Leonard Cohen says in Anthem from The Future (1992),
‘There is a crack in everything, that’s how the light gets in.’
50
REFRENCE LIST
Fig.3. Stelarc, n.d, The extracorporeal Stelarc : THE CHIMERA TECHNOLOGY , viewed 15 May 2012,
< http://digicult.it.com>
Fig.4. Stelark , 2012, Biography notes, Viewed 15 May 2012,
< http://stelarc.org /?catID=20239>
IMAGES IN ORDER
OF
APPEARANCE
Fig.5. McRae,L , 2011, Lucy McRae and Bart Hess, viewed 13 April 2012,
< http:// creativetempest.com>
Fig.6. ‘Solipsist ’, 2012, Films, Viewed 15 May 2012,
< http://www.andrewthomashuang.com/Films.htm>
Cave, N 2010, SAIC Fashion Chair Nick Cave in Vogue, viewed 13 April 2012,
< http://www.chicagoreader.com/TheBlog /archives/2010/08/24/saic-fashion-chair-nick-cave-in-vogue>.
Hansmeyer, M 2010, Subdivision Columns, Photograph, Edited by Killick, N, viewed 2 October 2012,
<http://www.michael-hansmeyer.com/projects/columns.html?screenSize=1&color=1#3>.
New, L 2012, Urchin, Photograph, Viewed 29 September 2012,
< http://folioofastylist.blogspot.com.au/2012_01_01_archive.html>.
Elasticeye 2012, Flowers, Photograph, viewed 2 October 2012,
< http://wewastetime.wordpress.com/tag /japan/>.
New, L 2012, Caraface silicone piece, Photograph, Viewed 29 September 2012,
< http://folioofastylist.blogspot.com.au/2012_01_01_archive.html>.
Van Herpen, I 2007, Iris Van Herpen – Inteview, Photograph, viewed 2 October 2012,
< http://www.dodiespinosa.com/?/projects/Iris/>.
Fig.7. Iris Van Herpen , 2011, Iris Van Herpen Haute Couture, viewed 13 April 2012,
< http://www. novastyle.org>
Fig.8. Hussean Chalayan , 2010, Exhibition: ‘B-Side’ By Hussein Chalayan, viewed 13 April 2012,
< http:// londondesignguide.com>
Fig9. Justene Williams, 2011, Justene Williams at IMA@Surfers, Viewed 10 April 2012,
< http://www. ima.org.au>
Fig.10. Hiromi tango, 2011, Artists /Hiromi Tango, viewed 15 May 2012,
< http:// russhmagazine.com>
Fig.11. Aldo Lanzini , 2011, Work, Viewed 15 May 2012,
< http:// aldolanzini.eu>
Fig.12. Rebecca Horn, n.d, Rebecca Horn, viewed 13 April 2012,
< http:// visual-art-josephine.blogspot.com>
Yoshida, K 2010, Painting (Ophelia by Delacroix). Self portrait 2010, courtesy Paco Rabanne, Photograph,
Viewed 3 October 2012,
< http://art.gcc.mass.edu/files/art263/examples/yoshida_4.html>.
Fig.13. Pyuupiru, 2001, Fashioning Radical Characters, Viewed 15 May 2012,
< http://www. 5thcharacter.com >
Wipprecht, A 2010, Self-Painting Dress by Anouk Wipprecht, Photograph, viewed 13 April 2012,
< http://trendland.com/self-painting-dress-by-anouk-wipprecht/>.
Fig.14. Agata Olek, 2011, Featured artist: Agata Olek , Viewed 13 April 2012,
< http://www. curbsandstoops.com >
Fig.15. Kimiko Yoshida, 2010, Painting, Self Portrait 2010, viewed 13 April 2012,
< http://www.kimiko.fr/art/index.php >
LITERATURE REVIEW
Fig.1. ‘Soundsuit ’ , 2010, Nick Cave Soundsuit, Viewed 10 April 2012,
< thedogfactory.blogspot.com>
Fig.2. McRae,L , 2011, Becoming: Transnatural, viewed 13 April 2012,
< http://www.transnatural.nl>
Fig.16. Maria Blaisse, 1996, Projects, Viewed 10 April 2012,
< http://www.mariablaisse.com/maria/projects/projects.html
Fig.17. Levi van Veluw, 2001, Origin of the Beginning 1.2, viewed 15 May 2012,
< http://www.levivanveluw.nl/work/origin-beginning-0#1 >
Fig.18. Madame Peripetie, 2011, Birds: Tata Christiane, viewed 15 May 2012,
< http://www.madameperipetie.com/>
51
Lanzini, A 2010, Crochet on Mr. Marlon, Photograph, Edited by Killick, N, viewed 29 September 2012,
<http://forwardcouncil.com/curated-items/38/crochet-on-mr-marlon>.
Cave, N 2010, Nick Cave Soundsuit, Photograph, Viewed 10 April 2012,
< thedogfactory.blogspot.com>.
Pan, K 2009, Supervision 6, Photograph, Viewed 11 November, 2012,
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<http://www.anoukwipprecht.nl/>.
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the evolutionary alchemy of creativity

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