Atelier XJC, (2012) 10th Anniversary Jewellery. Available at: https://www.dezeen.com/2012/03/05/10th-anniversary-jewellery-by-atelier-xjc/

Leung, Y. (2018) 'Custom head piece for @sevdaliza_' [Instagram]. 31 July. Available at: https://www.instagram.com/p/Bl4FiiMgBFG/?utm_source=ig_web_copy_link (Accessed: 14 October 2019)

Leung, Y. (2018) 'Nipples are removed please don’t attack me @ instagram' [Instagram]. 8 July. Available at: https://www.instagram.com/p/Bk9RkOzg2OJ/?utm_source=ig_web_copy_link (Accessed: 14 October 2019)

I like the use of the crystals because it creates an elegant and powerful atmosphere. It also creates a proliferating texture which contrasts against the smoothness and uniformity of the PVC lingerie.

I like the proliferating use of the spikes to create a more striking effect.

Leung, Y. (2019) '@maxineashley on my rooftop' [Instagram]. 5 September. Available at: https://www.instagram.com/p/B2CfFmVnevE/?utm_source=ig_web_copy_link (Accessed: 14 October 2019)

Leung, Y. (2018) 'Strapped Up' [Instagram]. 21 April. Available at: https://www.instagram.com/p/Bh2GJ2IlOOW/?utm_source=ig_web_copy_link (Accessed: 14 October 2019)

Braddock Clarke, S E. and O'Mahony, M. (1998) Techno Textiles (29). London: Thames & Hudson Ltd. Volume 2

Schmidt, P & Stattmann, N. (2016) 'Unfolded', Birkhäuser Highlights 2016/2017, Birkhäuser Publishers, cover page. Available at: https://issuu.com/birkhauser.ch/docs/birkhauser_highlights_16_17_en 

Volschenk, D. (2019) 'We're all a Version of United Dichotomies' [brown paper, acetate, thread, felt]

Volschenk, D. (2019) 'We're all a Version of United Dichotomies' [brown paper, acetate, thread, felt]

Lima, M. (2013) ‘Visual Complexity: Mapping Patterns of Information’, Princeton Architectural Press

Jackson, P. (2011) 'Folding Techniques for Designers: From Sheet to Form', London, Laurence King.

Van Herpen, I. 'Syntopia', 2018

Iris Van Herpen uses basic shapes like ovals, circles and triangles to inspire other more complex organic shapes. The use of traditional shapes in her prolific technique emphasises the duality of nature and scientific innovation. 

Conceptual context:

Precision vs. Chaos, duality, evolution and transformation of shape, beauty and seduction inspired by nature, bringing couture and innovation together, most personal expressions, inspiration from science 

Van Herpen, I. (2018) 'Syntopia'. Available at: https://www.irisvanherpen.com/haute-couture/syntopia

Kim's 'Living Geometry' collection has inspired previous work of mine like 'We're all a Version of United Dichotomies'(2019) because of the translation of everyday shapes found in my surroundings which inspired the fan covering the face which was used to contrast other simplicities seen in the smoothness of the grey felt top. 

Kim, C. (2015) 'Living Geometry' collection. Available at: http://chungimkim.com/living-geometry/ 

Jackson, P. (2011) ‘Folding Techniques for Designers from sheet to form’, Laurence King

Anderson, A. (2015) 'Memory Movement Memory Objects' [copper wire], Wellcome Collection. Available at: https://www.independent.co.uk/arts-entertainment/art/features/alice-andersons-memory-movement-memory-objects-everyday-objects-wrapped-in-copper-wire-10419809.html

In 'Memory Movement Memory Objects', Anderson wraps everyday objects in coper thread to mummify and preserve them. By using coper, Anderson mimics the colour of her natural long hair which personalises the objects she chooses to wrap, giving them personal meaning by literally covering them with a piece symbolic of herself. The objects she covers are no longer visible to public viewers which make them personal to her and add an aspect of secrecy and preciousness untouchable to the outside world. 

This technique could be a method of erasure which places emphasis on the hidden objects and control Anderson has over the hidden objects by regaining control of them and making them untouchable to all other people. 

Even though I didn't cover objects in my Your Possessions Workshop (see digital outcomes, 'Value'), I did erase them in a way as the mark-making samples that I took from my observational drawings of my table's personal objects were symbolised by an organic mark which made the original objects unrecognisable to the public. 

Lima's ‘Visual Complexity: Mapping Patterns of Information’ is a collection of over 300 examples of information design, representing networks of Twitter followers, depicting relationships between Al Queda members and also the interactions between different proteins in human cells. The use of lines form and represent connections between data. I used a similar technique in the group project of the Your Possessions workshop where we displayed objects in a particular way according to different categories. The drawings in my sketchbook (see sketchbook) of objects organised by monetary value, sentimental value, height and shape are a similar representation of displaying certain data through mark-making. 

'Painting Takes Just a Second to Go In'

Vija Celmins

Celmins' work is inspired by original scientific images which are often published by scientists and astronomers. She bases her work off of these images to understand what it would be like if she were actually in their role. By reworking the original works, Celmins is able to resonate with the original artist to "relive that image and put it in a human context". Celmins is able to "go somewhere" by understanding the intricacies of the original location or illustration. Her methods are relevant in today's society as it could be a a method of conflict resolution amongst demographic groups and may be used as a method of raising awareness for overlooked issues by realising their original state.

TATE (2014) 'Vija Celmins - Painting Takes Just a Second to Go In'. 4 April. Available at: https://www.youtube.com/watch?v=SsbkzSrCdIg