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| Wheat - Skins Series, 2020. Plastic, straw, and wheat, 65" x 20" x 20". Artist's website Artist's Instagram page Watch an interview with the artist Who are you as an artist and why do you create? I make wearable art made out of organic materials. I am a multidisciplinary artist who combines sculpture, found objects, fashion, and photography. I create art because it completely fulfills me; without art I would be lost. I love having an idea, a thought, a mood and bringing it to life. What inspired this particular piece? The wheat construction was inspired many years earlier while walking my dog through a wheat field in Switzerland. I loved the texture and softness it created when bundled in large quantities. I also loved the braided design it took on resembling human hair. Unfortunately, when I finally decided to build the outfit, I had to source the wheat from other locations. I loved that particular Swiss farm and was hoping to pull directly from my original inspiration. Tell us about your process for making this artwork? I start by choosing the organic material I'm going to use; this tends to be a fairly spontaneous process. I then move into deep research about use in culture, history, origin, etc.. What’s so interesting is that even after all these years, my spiritual experience working so closely with the natural world is invaluable to both my process and to me. Did you use any special or technically challenging techniques to create your artwork? My wearable constructions are always challenging as I never use the same item twice. This means I’m always using a new material for the first time. To me, this is what excites me the most - the discovery of transformation. Did you face any challenges or overcome any issues while creating this art work? My biggest challenge is that most of my materials don’t last forever. As such, they are continuously evolving and decomposing. I overcome this challenge by documenting the wok through my photography, which in itself, is a whole new process of exciting discovery. What drew you to being part of this competition? I was part of the Dress Rehearsal show curated by Kate Stern in Oceanside Museum 2019. The show was a huge success and I was asked to participate in this competition. I feel so blessed and honored to back at Oceanside! |
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| Oasis, 2020. Palm fronds and lace, 6' x 3' x 3'. Artist's website Short bio Ever Since I was a little girl, I wanted to grow up to be a fashion designer. I sewed my first dress (my own design) at age 11 on a foot paddled sewing machine and I entered a fashion design competition in Beijing, China at age 14. I always say that practicing Landscape Architecture is my profession which I do well with my education background and years experience, but being an artist is my passion as I have been embracing artful living my entire life. I am looking forward to continuing to create and explore. As I believe that being an artist is a way of living. Who you are as an artist, why do you create? I am a visual artist who has a variety of interests in different art forms to express and communicate my thoughts: paintings, fine art photography, ink sketches, and fashion design. What inspired this particular piece? With my education background (master degree in landscape architecture) and almost 30 years’ experience practicing in landscape architecture, I have a real appreciation of nature & love plant materials especially palms as they signify Southern California living with their majestic grace form. I also draw my inspiration from my Chinese heritage as I have a good understanding of Chinese traditional art forms across-the-board. There is a particular Chinese idiom regarding falling leaves that inspired me in creating this piece. What draws you to the materials you used? Palm fronds' lightweight, rich texture and brilliant color as well as sustainable nature draw me to use them to create an artful fashion to represent my love towards being environmentally sensitive. Tell us about your process for making this artwork. Treat the palm fronds to reveal its natural color and shine, then cut them as well as lace them together with leather strings, I prefer working with organic materials in general. I also do three dimensional cuts (cauge/dyapiag). Did you face any challenges or overcome any issues while creating this artwork? Yes. Time consuming process is a real challenge to me as I am working full time practicing landscape architecture plus many other responsibilities meaning I have been working all weekends and after hours into late nights (a couple all-nighters too) to meet the deadline. Also, I have to figure out how to drill holes in palm fronds and figure out where to acquire metal wire from to fit the billl. As life models are out of question due to the current situation, I have to borrow a mannequin from a local hair Salon who owns a small boutique store. What drew you to being part of this competition? To fulfill my childhood dream to be a fashion designer and to give back to OMA which does a great job promoting and supporting local San Diego based artists. In what context do you see your work being worn? Promote sustainable practice in fashion design. Fun events promote high-fashion, like special galas, Del Mar Race Opening Day as an example. |
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$540Min Bid
$1,620Buy Now
| Ajna Experiences Enlightenment at the Ryōan-ji garden, 2020. Vinyl commercial poster, blackout curtain fabric, denim fabric, red tube fabric, buttons, wooden dowels, denim shirt, leather, and buttons. There is a strapless red under-dress, an over-dress that can be worn with leggings, a kimono-style cape that unzips on the sides and ties on the back, and a detached collar than can also be worn as a crown. The dress and cape can be worn as separate items. Artist's website Artist's Instagram page How to Pronounce Ajna, How to Pronounce Ryōan-ji Short bio Marty has been sewing since a young child, and began making wearable art in her 50's after leaving her work as a social worker and attorney. She makes art quilts, upcycled clothing, and avant-garde wearable art. She has won numerous best of show awards, and exhibits internationally. Who you are as an artist, why do you create? My goal as an artist is to create art using sustainable textiles or discarded materials that can be repurposed. I hope to encourage consumers of fashion to notice who made their clothing, and to purchase quality, not quantity. I hope my work will encourage less people to support the fast fashion industry that harms our environment and worse yet, engages in dangerous and unjust labor practices. What drew you to this competition? I was invited to submit a piece of wearable art to this juried fundraiser by OMA, and wanted to create a new piece that was both sculptural, and wearable. Much of my work is made from vintage abandoned damaged textiles and is somewhat fragile to wear. I saw this art call as an opportunity to push my boundaries by using a different textile. I found this large vinyl advertisement perhaps 12 years ago, and carefully kept it, knowing I would use it one day. I loved the huge face, and thought it would be perfect as a way to create a sculptural and surrealistic garment, by somehow altering the face. Did you face any challenges or overcome any issues while creating this artwork? The most difficult part of this project was getting all of the strips of vinyl under my home sewing machine to sew the strips to the bodice. It was like sewing an octopus! Serging the vinyl created a lot of dust, and I wore a particle mask while serging the edges of the strips of vinyl. Another challenge I had in making this garment was how to make it comfortable to wear, so I backed the vinyl strips with fabric, and also lined the cape in the same fabric. To create more dimension, and get more of a soft fabric feel, I added washed strips of ripped denim using embroidery stitches, and created fringe. I never know how a piece will end up - as i don't sketch. The material I use often dictates what the design evolves into, and towards the end of this project I realized there was a warrior, Samurai feel to the outfit. Thus the name of my piece "Ajna...." comes from Sanskrit, and refers to the Third Eye, signifying the subconscious mind in Hindu tradition. This garment has three eyes, two mouths and two chins. When I thought of a name for the ensemble, I imagined this being worn at one of my favorite zen gardens in Japan. In what context do you see your work being worn? I can see this garment being worn on stage, perhaps by a musician, or theater. The outfit looks fabulous when walking or twirling. It would also look great being worn at a festival or party. "Ajna" is alterable - it can be worn without the cape, and the neck-piece can be worn as a hat or crown. The cape can be worn backwards or forward. I particularly enjoy making garments that can be worn multiple ways. I first thought it was an outfit for a woman, but my son modeled it, and I realised "Ajna" has an adrongenous vibe. |
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$1,200Min Bid
$3,600Buy Now
| Not yet titled, 2020. Sock fabric, 66" x 12" x 8". Artist's website Short bio I have been making art since high school. I grew up in the Midwest, studied art in New York, and have lived in California for most of my life. I have shown art in Asia, Europe, Mexico, and in the States. Most of my art over the years has references the body. I hope my art triggers memories and brings pleasure. Who you are as an artist, why do you create? I create because it adds meaning, satisfies a desire, challenges limits, and expands my outlook. What inspired this particular piece? I am intrigued by the idea of art that is worn on the body, and inter-relationship between art and fashion design. What draws you to the materials you used? I have been working with fabric for a number of years. Part of the reason I use fabrics and cloths is the immediate and tactile relationship with the body. Tell us about your process for making this artwork. I came up with the idea of a jumpsuit and socks because I have so much experience working with stretch fabrics and the jumpsuit seemed to fit the fabric. I planned on making it tight fitting. The overall design is mostly patchwork. I made decisions about color and placement as I worked. Did you face any challenges or overcome any issues while creating this artwork? I wasn’t so sure I liked the piece after I finished the patchwork. At first I thought I was just going to make holes in it, but that didn’t seem right. I tried to add a dominant color to the extending socks and that seemed to work, created some unity out of the chaos. What drew you to being part of this competition? Fabric is part of my medium In what context do you see your work being worn? Any context would be OK, but it would be great to see it worn. I made it for a medium size female, but a male could wear it too. |
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$650Min Bid
$1,950Buy Now
| In Bloom, 2018. Recycled formal cloth dress with thrown and splashed acrylic paint, 60" x 36" x 36". Artist's website Artist's Instagram page Short bio I was born in Beirut Lebanon to American parents living abroad, she was raised in Los Angeles County. In 2013, I graduated with distinction from San Diego State University with distinction and a degree in Art with emphasis in Art History. My studies have put into a larger reference my relation to other works of art, artists, techniques and motivations. It also gave me the ability to critically evaluate my works in a historical context. Who you are as an artist, why do you create? I am a white, female artist in my mid sixties. My canvas works have had representation nationally as well as internationally. I have gallery and museum exhibition history. My work is held in private, public, corporate and museum collections. I create because it's my way of interpreting and relating my experience of myself in relation to the world and existence. My language. What inspired this particular piece? Bloom was originally created for the Seventeen on Being 17 exhibit at the Cannon. That exhibit was about the anxiety of standing on the threshold of adulthood, while still firmly rooted in childhood. Bloom is recognition of that The challenge is not to paint the zipper closed! I have also never designed a hat, this is a new experience for me. I used an existing Mr. Hill hat, painted it with my technique and attached an oversized, thrown and splattered flower. I have 'thrown' shoes before, so they weren't as challenging. process and a gentle urging forward of the flowering into adulthood. What draws you to the materials you used? I throw and splatter paint onto large canvases using sticks and brushes to create impressionist landscapes. It was a natural progression, when given the exhibit, to throw and splatter onto a dress. Tell us about your process for making this artwork. The work needed to lie prone on the floor, as do my canvases, so that there is not dripping. Using house and acrylic art paint, brushes and sticks, I went about the process of 'throwing' an impression painting directly onto the dress. As with my canvases, there was no under painting, no drawing, no painting directly on to the dress. It's all thrown and splattered paint. Did you face any challenges or overcome any issues while creating this artwork? The challenge is not to paint the zipper closed! I have also never designed a hat, this is a new experience for me. I used an existing Mr. Hill hat, painted it with my technique and attached an oversized, thrown and splattered flower. I have 'thrown' shoes before, so they weren't as challenging. What drew you to this competition? The chance for this particular dress to be worn by a live model, drew me to this exhibit. It hasn't disappointed. Once I saw it on my model, I knew it "worked". In what context do you see your work being worn? I would love to see this dress in a red carpet event, preferably, one having to do with art. |
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$1,750Min Bid
$5,500Buy Now
| Shoes to accompany In Bloom, 2020. Upcycled heels with thrown and splashed acrylic paint. Short bio I was born in Beirut Lebanon to American parents living abroad, she was raised in Los Angeles County. In 2013, I graduated with distinction from San Diego State University with distinction and a degree in Art with emphasis in Art History. My studies have put into a larger reference my relation to other works of art, artists, techniques and motivations. It also gave me the ability to critically evaluate my works in a historical context. Who you are as an artist, why do you create? I am a white, female artist in my mid sixties. My canvas works have had representation nationally as well as internationally. I have gallery and museum exhibition history. My work is held in private, public, corporate and museum collections. I create because it's my way of interpreting and relating my experience of myself in relation to the world and existence. My language. What inspired this particular piece? Bloom was originally created for the Seventeen on Being 17 exhibit at the Cannon. That exhibit was about the anxiety of standing on the threshold of adulthood, while still firmly rooted in childhood. Bloom is recognition of that The challenge is not to paint the zipper closed! I have also never designed a hat, this is a new experience for me. I used an existing Mr. Hill hat, painted it with my technique and attached an oversized, thrown and splattered flower. I have 'thrown' shoes before, so they weren't as challenging. process and a gentle urging forward of the flowering into adulthood. What draws you to the materials you used? I throw and splatter paint onto large canvases using sticks and brushes to create impressionist landscapes. It was a natural progression, when given the exhibit, to throw and splatter onto a dress. Tell us about your process for making this artwork. The work needed to lie prone on the floor, as do my canvases, so that there is not dripping. Using house and acrylic art paint, brushes and sticks, I went about the process of 'throwing' an impression painting directly onto the dress. As with my canvases, there was no under painting, no drawing, no painting directly on to the dress. It's all thrown and splattered paint. Did you face any challenges or overcome any issues while creating this artwork? The challenge is not to paint the zipper closed! I have also never designed a hat, this is a new experience for me. I used an existing Mr. Hill hat, painted it with my technique and attached an oversized, thrown and splattered flower. I have 'thrown' shoes before, so they weren't as challenging. What drew you to this competition? The chance for this particular dress to be worn by a live model, drew me to this exhibit. It hasn't disappointed. Once I saw it on my model, I knew it "worked". In what context do you see your work being worn? I would love to see this dress in a red carpet event, preferably, one having to do with art. |
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$300Min Bid
$900Buy Now
| Hat to accompany In Bloom, 2020. Cut and shaped canvas with thrown and splashed acrylic paint. Short bio I was born in Beirut Lebanon to American parents living abroad, she was raised in Los Angeles County. In 2013, I graduated with distinction from San Diego State University with distinction and a degree in Art with emphasis in Art History. My studies have put into a larger reference my relation to other works of art, artists, techniques and motivations. It also gave me the ability to critically evaluate my works in a historical context. Who you are as an artist, why do you create? I am a white, female artist in my mid sixties. My canvas works have had representation nationally as well as internationally. I have gallery and museum exhibition history. My work is held in private, public, corporate and museum collections. I create because it's my way of interpreting and relating my experience of myself in relation to the world and existence. My language. What inspired this particular piece? Bloom was originally created for the Seventeen on Being 17 exhibit at the Cannon. That exhibit was about the anxiety of standing on the threshold of adulthood, while still firmly rooted in childhood. Bloom is recognition of that The challenge is not to paint the zipper closed! I have also never designed a hat, this is a new experience for me. I used an existing Mr. Hill hat, painted it with my technique and attached an oversized, thrown and splattered flower. I have 'thrown' shoes before, so they weren't as challenging. process and a gentle urging forward of the flowering into adulthood. What draws you to the materials you used? I throw and splatter paint onto large canvases using sticks and brushes to create impressionist landscapes. It was a natural progression, when given the exhibit, to throw and splatter onto a dress. Tell us about your process for making this artwork. The work needed to lie prone on the floor, as do my canvases, so that there is not dripping. Using house and acrylic art paint, brushes and sticks, I went about the process of 'throwing' an impression painting directly onto the dress. As with my canvases, there was no under painting, no drawing, no painting directly on to the dress. It's all thrown and splattered paint. Did you face any challenges or overcome any issues while creating this artwork? The challenge is not to paint the zipper closed! I have also never designed a hat, this is a new experience for me. I used an existing Mr. Hill hat, painted it with my technique and attached an oversized, thrown and splattered flower. I have 'thrown' shoes before, so they weren't as challenging. What drew you to this competition? The chance for this particular dress to be worn by a live model, drew me to this exhibit. It hasn't disappointed. Once I saw it on my model, I knew it "worked". In what context do you see your work being worn? I would love to see this dress in a red carpet event, preferably, one having to do with art. |
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$1,000Min Bid
$3,000Buy Now
| Ladies Night, 2020. Airbrushed textile paint on cotton jumpsuit, 48" x 24" x 2" (when not worn), Size XXS and fits a 25" waist. Photography by Keely Murphy, modeled by Pualani Keoni. Artist's website Artist's Instagram page Short bio Isa Beniston is an artist who has been living and working in Los Angeles since 2010. In 2014, she graduated from UCLA and started the fine-art-meet-retail-brand Gentle Thrills. Her work is worn regularly by Post Malone, was featured in Brie Larson’s directorial debut and Aidy Bryant’s Shrill, and is stocked in shops all over the world. Tell us about your process for making this artwork. The Ladies Night jumpsuit was airbrushed--i've been airbrushing for almost 5 years now and think it's my second favorite feeling after putting pen to paper! Airbrushing is instantaneous (and therefore at times, unforgiving) and I've enjoyed getting to know the rhythm of how a garment is approached. The longer I've worked with the medium, the better I've understood the ways in which clothing is structured and how best to manipulate materials to achieve the effect I'm going for. It's an intimate way to spend time with garments--you're turning them inside and out looking at every seam up close. This jumpsuit had as much body coverage as possible, so each pant leg or sleeve was turned front, back, outside, and inside to be sure to achieve 360 color. Additionally, everything is freehanded so it's a fun exercise in prediction and planning. I see the women's faces as a mosaic and a sort of drawing mind puzzle for myself--I do the black first, and then when I go to color, I also try to not let any like colors touch. It's not always possible, of course, but I like the challenge! What drew you to being part of this competition? As someone who's been using relatively standard garments as a surface for painting and drawing for years, wearable art is obviously something I am invested in. But moreso I'm grateful for an opportunity for something that is "wearable" to be acknowledged as art, because it does seem like clothing rides a fine line between Fashion and just...stuff! Wearable art as a genre is something I'd like to see more of, so i'm thrilled to be seeing more of it all together in a museum that was formative to me as a kid growing up in San Diego! Seeing all of the pieces together feels like a conversation I'd be excited to have--where do you draw the line with wearability? And with artwork? Is something still considered art even if it is seen as practical? In what context do you see your work being worn? I airbrushed this jumpsuit about a week before shelter in place started in LA. At the time I thought I'd wear it myself to a future event (an art opening or live painting event, probably!) but alas, i jinxed it! It's funny now--the proximity of the faces is definitely a more jarring motif than i'd have guessed it would be, but I like the intimacy of it.! I airbrushed a similar motif on a tablecloth for myself during quarantine--sort of like a dinner party but without any actual guests! Please add a short bio of a few sentences. |
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$1,500Min Bid
$4,500Buy Now
| Gravity. Scottish wool coating fabrication (Hand draped, hand tacked), 50" in length, 30" wide (when stretched). One size, as the coat is able to be draped, laid and bunched at desired overall length. Photography by Bingyu Li unless otherwise noted Artist's website Apparel and accessories designer with a focus in fashion + textile innovation and 3D technology. Passionate about forward thinking design, collaborates and contributes with progressive designers on new and exciting endeavors. Currently working on inter-disciplinary research and solution based investigations in human rights and refugee empowerment. Aims: to facilitate economic empowerment opportunities through the preservation of traditional textiles coupled with explorations in innovative and progressive design and smart textiles, with a sustainable and ethical lens, for those in need. Combining the worlds of sustainability, ethics, humanitarian aid and development with textile and fashion design to empower and assist vulnerable and conflict zone communities. Concentrations Concept Research & Development | Technical & Spec Work | 3D Prototyping & 3D Software | CAD Illustration | Production and Liaising with Overseas | Creative Direction | Styling | Pattern Cutting and Draping | Hand & Machine Sewing |
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$2,500Min Bid
$7,500Buy Now
| Creature Top, 2020. Large blue bath mat knit yarn., 15" x 14" x 8". Artist's website Artist's Instagram page Interview with the artist Short bio My name is Andrea Antonorsi and I am an 18 year old student at High Tech High North County. I was born and raised in Encinitas, California, and I am Venezuelan as well as my family. I have been sewing, altering, and creating in all mediums for as long as I can remember, and I am exited to take my passion to the next level though the fashion design schools I am applying to. Who you are as an artist, why do you create? I am an artist that likes to transform what already exists. I create because the challenge to repurpose and rebirth life to existing things fulfills me and brings me joy. What inspired this particular piece? This piece was inspired by my own anxieties and frustrations that ooze out of me, all consuming, like a monster or creature without form or structure. What draws you to the materials you used? I was drawn to the thick fluffy blue yarn by its exaggerated size and strange look. Tell us about your process for making this artwork. The start of my process was completely accidental. I planned on knitting a blanket but I quickly realized that I’d need much more material. So I ended up with a firm rectangle shape that fit perfectly across my chest. Living by the beach I took inspiration from the ocean and its creatures. I started weaving and crocheting until this rectangle evolved into its final marine like form. What drew you to being part of this competition? I made “The Creature” top at the beginning of quarantine without much thought as to my plans for it. When I found out about the wearable art exhibition I thought it would be the perfect place to show this piece. In what context do you see your work being worn? I see “The Creature” top being worn by the most confident and fashion forward individuals. It is very versatile in ways you can style it. |
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$375Min Bid
$1,125Buy Now
| Wait Under Pyramids, 2020. Upholstery fabric, cotton batting, Poly-fil, Poly-pellets, and fringe, 94" x 15" x 3". Artist's website Interview with the artist Artist's Instagram page Artist's Facebook page Short bio (Emma)nuelle Chammah is a sculptor and designer based in Atlanta, GA. She earned a Master of Architecture I from Tulane University in 2007. In 2008, she constructed and exhibited a collection of 3 wearable art pieces in Louisiana and in New York. Starting in 2009 until 2011, she co-produced art shows and exhibits with Chimera+, a curatorial practice based in Brooklyn, NY. In 2010, she completed a Digital Sculpture Residency at the School of Visual Arts in NYC, and went on to work in New York and California for agencies in architecture, art fabrication, theater, fashion and Public/Community Art while slowly building her art practice. In 2018, she moved to Atlanta to pursue her art practice full-time. Currently, Emma continues her radical use of fabric in many forms including wearables, tapestries and free-standing sculptures out of her studio at The Met in Atlanta's west end. Who you are as an artist, why do you create? I am a conceptual artist working with textiles and I make mostly wearable sculptures. They are prostheses for everyday cognitive functions, metaphysical relationships and mental health. Central to my practice is the belief in cultivating compassion. I use diagramming as part of my process, sometimes using 3D computer modeling and CNC fabrication. In the process, I also leave areas unplanned to insert expressive details in the spaces between. These moments can take days or weeks through traditional fiber techniques like embroidery, appliqué and quilting. In these overlaid moments are memories and images from my americanized Egyptian culture and upbringing. What inspired this particular piece? This piece is a follow up to the artist's "Wait Blanket", a wearable sensory sculpture fashioned like a 3-dimensional wearable tapestry. The pyramid shapes are plushy and heavy, intended to drown out noise, like a portable sound booth. The tassel embellishments are to keep the hands busy, but this piece is also meant for a ritual, with its woven silk backing and sand colored upscale upholstery fabrics - all rescued from a dumpster. Did you face any challenges or overcome any issues while creating this artwork? This piece was a breakthrough for me. The road to becoming an artist was long and difficult and I still have a long way to go, but this piece was like a point of inflection, where I proved to myself that this is what I'm meant to do and it will be easier from now on. Perhaps in a way, the physical weight of it, is all of that effort and fight I carried around for years to get here. What drew you to being part of this competition? I always like to see my work in a different context. Since it is not fashion and not quite hang-on-a-wall art, I like to take the opportunity to experiment in different contexts, including performance. But mostly, the opportunity to have a solo show was a major draw. In what context would you see your artwork being worn? I answer this in the video, but I'd like to add that when I said I see my work in the future, I meant the very near future. I think the need for people to experience their surroundings from a different perspective is now. The time for protective, soothing or diffusing "apparel" is also now, with our current social, cultural and political loudness. I can see this piece hanging on a wall, and occasionally coming down for wearable time. |
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$7,000Min Bid
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| Urban Armor, 2017. Aluminum, 51" x 19" x 12". Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| StreetLore Couture, 2019. Plastic tubing, wire, notions, vinyl fabric, and snaps, Skirt H: 39"; W; 43";D; 41". Artist's website Artist's Instagram page Who you are as an artist, why do you create/Artist Bio As a designer I thrive on collaboration with other artists, aiming to constantly disrupt fashion norms. I find fascination in how art manifests itself. Mirroring, connecting, and adapting. It allows individuals to express their energy, heart and passion in a world full of chaos. I find inspiration throughout my life: in the people I connect with; icons of history; the environment around me (be it natural or manmade); the music that moves me; and the moments that bring meaning to our existence. What inspired this particular piece? History tends to repeat itself in fashion. I like to bring together elements from the different eras while including a modern twist. Timeless fashion results. What draws you to the materials you used? I chose to be resourceful with the materials I had lying around. Tell us about your process for making this artwork. I intended to put fabric over the top of this piece but decided to build out the panels and do it in reverse. Did you face any challenges or overcome any issues while creating this artwork? It was a challenge to build this piece without knowing how to properly construct it for durability. What drew you to being part of this competition? I always wanted to do a fashion exhibit at an art gallery. I appreciate being involved in various events because it allows me to expand and grow in my craft. |
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| Victorian Power Suit, 2020. Fabric, lace, and ribbon, 36" x 18" x 60". Artist's website Artist's Instagram page Short bio I have been making art since I first mastered the motor skills to hold a crayon. I've been decorating walls, books, and the occasional Siamese cat ever since—art school was inevitable. While illustration, printmaking, and fiber arts generally represent the categories of my artwork, I dabble in many things including glassblowing, and mosaic. My artwork has been exhibited at Lux Art Institute, San Diego Art Institute, and two pieces are in the permanent public art collection of the City of Encinitas as part of 53 mosaics in the Santa Fe Drive undercrossing. Who you are as an artist, why do you create? I am currently a student, sophomore at School of the Art Institute of Chicago pursuing a BFA in visual arts with an emphasis that straddles fiber arts and printmaking practices. It's fair to say that I have not yet settled on a specific branch of art, but rather enjoy climbing the whole tree still and discovering how my interests grow with each new experience, project, artist encounter, etc. What inspired this particular piece? I like doing things that are different. Juxtaposing a Black Watch plaid with Elizabethan collar just felt like a fun combination—what would the Jacobites say? Add to that a power suit concept which is primarily a male-dominated wardrobe essential, and it adds even more to the conversation. I opted to make it a vest instead of a coat because it adds a hint of both irreverence (no bare arms ever seen with an elizabethan collar). This was names Victorian Power Suit for the victor reference and not the era in British history. I actually submitted two other pieces that were a lot more interesting than this one, but, well, I'm sure you know more about why this one got picked. It's more mainstream and palatable I suppose. Did you face any challenges or overcome any issues while creating this artwork? Pleating lace is TIME CONSUMING, getting the collar to stand was a huge challenge What drew you to being part of this competition? It's a new challenge. I like doing things outside my comfort zone and being part of this creative process sounded interesting. In what context do you see your work being worn? Starbucks, light errands, dinner with friends. |
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| Creeping Vines, 2018. Aluminum, 49" x 42" x 28". Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| Pinion Queen, 2020. Craft foam, superglue, PVC pipe, PEX pipe, contact cement, plywood, foam yoga mat, pipe fittings and hardware, seat belt straps, plastic buckles, acrylic paint, metal O-rings, and cable ties, 40" x 180" x 12". Photography by Chris Barbour Learn about the making of the artwork Artist's Facebook page It’s not about having fancy art supplies, it’s how much you transform the starting material and working with what you’ve got. Who you are as an artist, why do you create? I am an artist of many trades - a tailor, a sculptor a painter, a music maker…. I like to design and sew garments and costumes, especially for stage performance, I like to paint stuff and draw and sketch, I also write a ton of poetry and music. That’s actually my main interest, and it inspires all of my other creative works. So sometimes I will write a poem, and the poem will become a song, maybe the song inspires a garment, then the garment inspires a performance, and who knows, that might become a music video. I have a solo act called a Stray Catalyst - I would call it a Gesamt Kunstwerk, a German phrase meaning an “all together work”. Basically that means the artist takes complete control of the entire creative process. What inspired this particular piece? Just because I’m in charge doesn’t mean a project can’t be a collaborative process. So in the case of my recent art piece, A Pinion Queen, I collaborated with creative partner Maximos Koukos who wrote a song with that same title, Pinion Queen. He envisioned a music video that featured a figure with massive black wings looming over him at the piano. So he asked me to build him a giant pair of moving wings. What draws you to the materials you used? These wings are made mostly of foam. I did not want to use any real feathers because I did not want any birds to be harmed for the sake of art. So I shaped each of these foam feathers by hand. A skeleton is made with a combo of PVC and pegs pipe. Did you face any challenges or overcome any issues while creating this artwork? The skeletal structure was a major challenge in the design, finding a material that was rigid enough to support the wings but flexible enough to be realistic. Also it had to be lightweight and actually wearable. This is not a display piece, it was meant to be worn by a moving person. One more serious consideration was portability, we had to be able to break it down and transport it. You’re probably wondering, where is this music video?? Well, the pandemic hit, we lost our main sources of income, then a bunch of other stuff happened, and the music video is not happening. What drew you to being part of this competition? When Max and his wife moved out of town I asked if he wanted to take the wings with him and he said they would basically just be sitting around in storage, so I jokingly said I would have them display in an art gallery and auction them off for a million bucks! That’s how they ended up here. I just couldn’t stand the thought of something so beautiful being hidden away from public view. It’s something that we created. It’s art that was brought into existence by music and inspiration. Whether or not the music video becomes a reality it will always live in our minds. It cannot be uncreated. |
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$5,000Min Bid
$15,000Buy Now
| Bella Donna, 2019. Metal wiring, metal roses, vintage birdcage, and vintage Italian wall sconces, 17" x 27". Photography by Christyl O'Flaherty Artist's website Artist's Instagram page Handcrafted Baroque style metal under bust corset. Vintage hand painted metal roses, metal hearts, pearl detailing and a Fontini cherub from Milan set in a vintage 1800s Victorian brass frame. Italian filigree detailing in vintage gold silk cording trim and cream color pearls. French silk ribbon tieback. Corsets in back. Who you are as an artist, why do you create? I consider being an artist is a gift from God and strongly inspired by my parents, my father was a incredible fine artist from Buenos Aries and Mother is a master seamstress from Sicily Italy. You put those two worlds together and you get me, a fashion designer. I was strongly influenced in European art and the works of the old masters, especially the Baroque and Rococo style. My passion is to create through inspirational designs with an obsessive attention to detail, FIORI Couture allows people to rediscover the joy of accessorizing with elegance and beauty; each collection is infused with dreams and enchantment. They allow me to be creative yet offer people something unique and different, wearable and functional works of art. I call them “one of a kind objects of desire.” What inspired this particular piece? “Bella Donna” Metal Corset was inspired by the beautiful costumes worn by the “Prima Donnas” and “Prima Ballerinas” in the Italian operas and ballets influenced by my visit to Palermo's Teatro Massimo, in Sicily ,Italy What draws you to the materials you used? The skirt portion are two wall candle sconces, the hand-painted vintage roses came off of a bread basket, the frame is an antique, the figurine is a Fontinini cherub I collected from Italy and repainted. Tell us about your process for making this artwork I love to collect many different antique elements and combine them poetically to create, FIORI Couture pieces. I enjoy working with the mundane everyday objects I find and turn them into works of art. Did you face any challenges or overcome any issues while creating this artwork? Not really I go with the flow of what I’m feeling, if I’m not seeing the vision I may walk away and then come back to it but usually I play my music loud and get in the creative mode and the outcome can be fun and sometimes completely different than what I originally planned. What drew you to being part of this competition? I believe we are all in some way a walking canvas, how we dress is an art form, some of us can be more creative or expressive than others. l love vintage and combining it into my pieces one way or another. “Wear Art, Be Art” I say. In what context do you see your work being worn? My work has been featured in numerous fashion editorials, fashion books, and commercials. Also on the red carpet, that is the direction most of my couture pieces have been showcased, it’s fun and exciting, but my favorite pieces to design are the truly wearable pieces like my Couture Metal birdcage handbags. Please add a short bio of a few sentences My passion is to create through inspirational designs with an obsessive attention to detail, FIORI Couture allows people to rediscover the joy of accessorizing with elegance and beauty; each collection is infused with dreams and enchantment. They allow me to be creative yet offer people something unique and different, wearable and functional works of art. I call them “one of a kind objects of desire.” |
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| Maria La Divina Crown, 2019. Vintage metal crown, 7.5" x 10" x 2". Photography by Christyl O'Flaherty Artist's website Artist's Instagram page This one of a kind crown was inspired by the beautiful and talented “Prima Donna” Maria Callas, a renowned and influential opera singer, hailed as La Divina ("the divine one"). This piece was influenced by the artist's visit to Teatro Massimo Bellini in Sicily, Italy, an opera house where Maria Callas performed many times. The crown was designed from a 1800’s vintage Baroque-style picture frame from Italy. It is embellished with vintage brass hand-painted rosebuds neatly tied up in a brass ribbon bow. |
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| Midnight Stars, 2017. Silk organza, polyester organza, netting, tulle, feathers, Swaroski crystals, and wool felt, 4.5' tall x 5' circumference. Artist's Instagram page Artist's Facebook page Photography by Luyi Zhao Short bio Christiann Moore has extensive experience working with large manufacturing companies, small manufacturing companies, entrepreneurs and artists, United States Department of Defense, and has been actively involved with start-up’s. She is currently a partner of ReverseEngineering.com, a computer technology software company and sole proprietor of ChristiannMoore.com, a clothing design and manufacturing company. Christiann has completed studies at San Diego Mesa College and received her Fashion Design Certificate in 2020. Moore spends her private time traveling the world which inspires her to design and create art pieces for friends and clients. Who you are as an artist, why do you create? As an artist, I discovered at a very young age that I like to use both my creative side and my business side to “create” various types of projects. The left side of the brain controls tasks that have to do with logic and the right side has to do with creativity and the arts. I have also discovered that I’m most happy when creating my art, which has been centered around fashion for most of my life. What inspired this particular piece? My art piece, Midnight Stars, was inspired by research imagery from Salk Scientist Elena Blanco-Suarez. The Midnight Stars gown is representing the brain study of astrocytes and their role to make healthy connections between neurons. What draws you to the materials you used? I was inspired by the huge mental capacity of the brain and wanted to represent that volume in the gala gown. A large part of that concept was expressed by creating an intricate and voluminous separate petticoat with different textures including two different types of fabric netting, resulting in a full, buoyant underskirt. I chose feathers for the over-skirt because they created a 3-D dimensional silhouette that was voluminous, yet when touched, the fingers of your hand seems to disappear into the surface and emulates infinity, such as the infinite intellect of the brain. I also used silk and wool in the gown to represent the organic nature of the human body, more specifically, the brain. Tell us about your process for making this artwork. After viewing the colorized and magnified slide imagery of “astrocytes firing within the brain”, with the scientist, we mutually decided that a voluminous gala gown in silhouette would best represent the slide image and the research it represented. I studied images of ball gowns from top designers and made notes of how they constructed these gowns. Then I created a mood board of my colors and put together a list of fabrics and notions that could provide the silhouette I wanted to emulate. I followed up with a sketch of my gown concept. The construction of the dress started with the creation of the foundation under garments. I calculated how much and what type of fabric I needed for the petticoat. I used a base fabric that would support several layers of ruffles and netting and kept adding fullness until I reached a point of satisfaction. I then drafted a pattern of an empire bodice for the top part of the dress and created it out of felted wool. I worked closely with the model to conform the wool into a bustier that was specific to her measurements, complete with metal stays. This empire waist foundation supports the full weight of the gown. The next step was to draw a pattern for the long full skirt of the gown and construct it out of a polyester brushed satin. I completely covered this skirt with an overlay of feathers and then added a large silk ruffled border to the bottom. I then draped the silk border into a large scalloped hem, adding even more fullness to the silhouette. The ruffle nicely represented the organic folds and crevices of a brain surface, and the feathers represented the scope of infinity associated to the brain. I then took small yellow feathers, added midnight blue Swarovski crystals, and attached them randomly onto the skirt. My last task was to sew the zipper into the completed gala gown. Did you face any challenges or overcome any issues while creating this artwork? Yes I did face some challenges. I had originally planned to hand stitch the feathers onto the skirt except the thread was entangling itself in the fine feather down at the base of the quill. After researching other methods of attachment, I found a type of glue used with fabric and applied with a hot glue gun. I then proceeded to hand glue each feather, starting at the bottom edge of the black skirt and applying them in a circular and layered methodology, similar to the style of positioning shingles on a roof. What drew you to being part of this competition? Creating a gown with such a deep meaning, from both a scientific perspective and pure imagination; creating something that represented the organic brain and integrating organic items such as wool and silk, made me view my Midnight Stars gala gown as a living and breathing piece of art and a perfect fit for this competition. In what context do you see your work being worn? I can see my work being worn by a Nobel Peace Prize recipient in the field of brain research; perhaps worn as a fashion statement piece on a Red Carpet for a very special event. I can also see it being worn by a high fashion model and photographed for an edgy editorial magazine piece. I also see my art being on display in a beautiful home. |
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| Goldberry, 2020. Hand dyed nuno felting sculpted on the form for the main body of the garment, felted and resin cast lilies, layered chiffon for parts of skirt and sleeves, foam and papier-mâché sculpting and paint for wood chest and headpiece with draped fabric, acrylic paint, and various embellishment, 84" x 23" x 12". Artist's website Artist's Instagram page Short bio After growing up in and around theatre throughout San Diego, Taylor moved to Chicago where she received her BFA in Costume Design and Technology from DePaul University’s The Theatre School. Over the last several years since then she has designed costumes, styled wigs, and applied makeup for theatre, film, and opera in Chicago, New York, Vancouver, and Los Angeles. While pursuing freelance work Taylor also began teaching in the theatre department at East Los Angeles College where she found a love for education. She has also worked with the California Educational Theatre Association to encourage theatre artistry with Southern California high schools. Taylor is currently earning her MFA in Costume Design at SDSU where she has been designing and working on other productions doing puppet construction and various costume craft artistry. Who you are as an artist, why do you create? Ever since I was a kid I loved art, when I was asked about what I wanted to be when I grew up I said "a starving artist in Paris!" I create because it feeds my soul and fulfills a desire to work with my hands and contribute something to the world What inspired this particular piece? I have been re-reading Lord of the Rings and talking with friends about the character Tom Bombadil and his purpose in the story, which there is a lot of debate over. Tom Bobadil has a wife who is briefly described and so I started to envision what she might look like and explore the river, forest, and flower elements that create Goldberry visually. What draws you to the materials you used? I used to only be aware of felt from the typical squares you can buy at a craft store, but then I started learning about how to create it and design with the materials. I have always loved dying and exploring new mediums so this was very exciting to pursue this more. Tell us about your process for making this artwork. It starts with making a base of the garment so the felt can be sewn to something and stabilized so it will continue to fit and not stretch out over time. Then it is about sculpting the felt around the body and that garment base. Other parts are made with layering foam and casting flowers to make the duplicates. What drew you to being part of this competition? I have a background in theatre and film and with the industry the way it is due the pandemic I have been looking for new ways to explore art in a satisfying and fun way! My sister-in-law who has done a lot with OMA sent me the link and I became really excited to put my skills into a new version of the art I love. |
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| Awakening, 2020. Fabric, EVA foam, wire, tubing, PVC pipe, boning, LED lights, and bubble wrap, Approx. 65" x 65" x 24". Photography by Water Dragon Photography. Watch an interview with the artist Watch the artwork come alive Learn about the mechanism supporting the artwork Artist's Instagram page Who you are as an artist, why do you create? I cannot not imagine living in a world without the arts, and there are not many that I have not tried! I love to sing, dance, draw, sew, paint, knit, crochet, play instruments, sculpt, needle felt... I could go on and on. I am left-handed, and the description of a right-brained person fits me almost exactly. I am inspired by the art of others, and am honored when my art can be an inspiration. I am not a happy person when I don't have a project in the works. I think art helps me focus in all others areas of my life and gives me an outlet to express feelings that can't be summed up in words. What inspired this particular piece? I was really inspired by the title of this art show, Art After Dark: Night of the Living Art. At first this title made me think it would be fun to do something kind of dark and creepy. After all, this show is taking place on Halloween night! But then I started focusing on the words "After" and "Living." Let's face it, this year has been dark enough already. Expressing something macabre just felt like throwing gas on the fire! I decided to start focusing on the feelings I'm hoping for "After" this dark period. I wanted to show something bright, fun and alive. I wanted the audience to feel an Awakening of hope for happier times ahead. What draws you to the materials you used? I am most comfortable working with fabric and have been sewing for many, many years. However, it is always fun when I have a fashion project that makes me get supplies from a hardware store as well! The mechanism that opens the flower in this piece is made of PVC pipe, EVA foam, nuts and bolts, and irrigation tubing. Tell us about your process for making this artwork. After submitting my design idea for this project, I realized I now had to figure out how to actually make it work! Sewing the corset, assembling the skirt and making the headpiece didn't worry me. But figuring out how to make the petals open and close at the same time was the first big hurdle in the creation process. For me, one of the most important parts of a design project is letting it roll around in my braid for a few days before getting started. That time often allows me to work out a lot of the logistics before actually getting my hands on the materials. Did you face any challenges or overcome any issues while creating this artwork? I went through quite a trial and error process when engineering the flower petal mechanism. I wanted to have the petals open and close together in a smooth motion that could easily be repeated. After several failed attempts, I finally landed on a system that worked! What drew you to being part of this competition? I had some fun designs started to showcase at WonderCon and ComicCon this year. When those events were cancelled, I was pretty bummed. I kind of fell into a creative slump during quarantine. When a friend notified me about this show, I saw it as an opportunity to turn my slump around and create something fun! I hoped that I could bring some joy to everyone watching! In what context do you see your work being worn? My 10 year old daughter thinks this would be a fun thing to wear on a fieldtrip to a garden! Ha! But due to its cumbersome nature, I'd say it should be saved for a special occasion. Maybe a convention? Or a gala event? Or maybe in a fundraiser for a garden? Please add a short bio of a few sentences. Renetta Lloyd of Natty Lou Creations has been creating art for as long as she can remember. Her mother taught her to sew at a very young age, and her first fashion line was made for her stuffed animals out of scrap fabric. In her teens, Renetta started costuming theatre productions in the San Diego area and continues to do so today. She has become particularly well known in the area for creating complex one-of-a-kind pieces for productions. In the last few years she has found her passion in making and modeling Cosplay costumes at conventions. She lives in Vista with her husband and two young children who are gracious enough to support her in all her messy hobbies! |
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$1,200Min Bid
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| Of Life & Death: Bee Attitudes, 2020. 3d pen filament, papier mache, collage, metallic filament, and solar powered lights, Approx. 6' x 6' x 6'. Take a look behind the making of the artwork Take another look behind the making of the artwork Watch an interview with the artist Artist's Instagram page Artist's website Short bio I am a deaf and disabled, transgender mixed media artist. I was born and raised in California, tho we moved to AZ for 11 years, I am happy to have made our home in Oceanside. I always feel better near the ocean. I hope my work inspires hope and creative thoughts in others even in dark times. I often had more ideas than I could bring to life, so I have sketchbooks full of ideas. And since moving here, I have devoted my time to bringing those visions to life. Who you are as an artist, why do you create? When I had a near death experience at 26, I had to start over. Art helped me regain memories, and physical abilities, and gave me a sense of purpose. And these days, it often helps me to have something positive to focus on rather than becoming overly focused on social media or politics, so I hope it helps others when I share my work. There’s nothing quite like getting into the flow of making a painting or sculpture, except maybe that feeling when a piece is complete! Due to my health issues, I am severely allergic to many things including PVA which is in most acrylic paints. So I have had to find what works for me through trial and error. I learned the rules of watercolor and gouache, and now I tend to intentionally break them. I have also learned how fun it is to use resin and I love using my 3d printer pen. Mixed media seems to be my favorite way to create. Just using a little of everything and following my intuition as the layers develop. What inspired this particular piece? My Bee Attitudes piece was inspired by the many bees who collect pollen around our house. They often choose to come lay on the cool pavestone of my patio at the end of their short lives. It made me imagine who might proceed over a bee funeral, or wedding, or religious rites. I want to honor the spirit of creation I see in the bees, despite my lifelong allergy I have always been grateful to the hard working little pollinators who keep our world alive. Tell us about your process for making this artwork. Bee Attitudes was created by first painting wet strength tissue and various recycled papers with watercolors and ink, then layering them to create a sculpted paper mask. I used my 3d pen to create the structure for the bee nose, and to create a structure for the wings etc. I made resin beads and honeycomb pieces for the clutch and the rosary within. And I painted canvas and linen with clear gesso and watercolor grounds to prepare them for watercolor, which also gives a bit of shape to the fabric. Did you face any challenges or overcome any issues while creating this artwork? While creating this, I ran into a few challenges while bringing my vision for a rosary fit for a queen bee since I’m new to working with resin. And then I ran out of the resin, and had to wait for more to be delivered. And I had to create a dress form from scratch, as I didn’t have one that was model sized. It can be stressful when working on a deadline if things don’t work perfectly the first time, but I welcome these challenges; they are part of the experimentation that so fuels me. I welcome the failures as much as the successes because failure means I tried and am learning. What drew you to being part of this competition? I love Oceanside Museum of Art and have admired previous wearable art here. I joined the Artists Alliance soon after moving here, and a friend from the alliance encouraged me to submit one of my mask sketches to the show. I took the idea a little further than a mask as I was so inspired. And Halloween is my favorite holiday after all! As a disabled transgender person, Halloween gave me an opportunity to be anyone I wanted to be, and was often the only time I can wear a respirator mask and still fit in. (Although since corona virus more people wear masks) So why not celebrate by creating wearable art for the October 31st show. In what context do you see your work being worn? I like to imagine my design being worn to a costume ball or other halloween celebration to be quite honest. My drag friends tell me any day is good for dress up. But if we were in the imaginary bee world of my dreams, I think it would be fun to see my Bee Attitude piece worn for a religious ritual known only to the inner circle of bees. |
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| Corn - Skins Series, 2020. Cardboard, foam, wheat, and corn, 100" x 20" x 30". Artist's website Artist's Instagram page Watch an interview with the artist Who are you as an artist and why do you create? I make wearable art made out of organic materials. I am a multidisciplinary artist who combines sculpture, found objects, fashion, and photography. I create art because it completely fulfills me; without art I would be lost. I love having an idea, a thought, a mood and bringing it to life. What inspired this particular piece? The wheat construction was inspired many years earlier while walking my dog through a wheat field in Switzerland. I loved the texture and softness it created when bundled in large quantities. I also loved the braided design it took on resembling human hair. Unfortunately, when I finally decided to build the outfit, I had to source the wheat from other locations. I loved that particular Swiss farm and was hoping to pull directly from my original inspiration. Tell us about your process for making this artwork? The popcorn construction was created during the pandemic. We were spending a lot of time inside, watching movies, eating popcorn. As it became our go-to feel good food, I took an interest in its shape and texture. And after doing some research, I discovered that there was a vast array of kernel types and colors. I thought it would be interesting to create an architecturally-inspired dress using multi-colored kernels, both popped and unpopped. I was drawn to the contrast between the organic material and the structured polygonal shapes of the dress. Did you use any special or technically challenging techniques to create your artwork? My wearable constructions are always challenging as I never use the same item twice. This means I’m always using a new material for the first time. To me, this is what excites me the most - the discovery of transformation. Did you face any challenges or overcome any issues while creating this art work? My biggest challenge is that most of my materials don’t last forever. As such, they are continuously evolving and decomposing. I overcome this challenge by documenting the wok through my photography, which in itself, is a whole new process of exciting discovery. What drew you to being part of this competition? I was part of the Dress Rehearsal show curated by Kate Stern in Oceanside Museum 2019. The show was a huge success and I was asked to participate in this competition. I feel so blessed and honored to back at Oceanside! |
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| Divine Diva Living, 2009. Fabric, up-cycled fabric, and up-cycled linen, 42.5" x 38" x 1". This item is reversible Artist's website Brief bio Dia Bassett is a visual and performing artist engaged in the experimental and complex relationships found in seemingly mundane materials. She works to transform many materials recognizable within the everyday domestic sphere: linens, thread, worn clothing, among others. Dia Bassett teaches with CoTA (Collaboration of Teachers and Artists), and has previously taught at City Tree Christian School, San Diego Art Institute, the Museum of Contemporary Art San Diego and San Diego State University. She has curated 10 art exhibitions since 2014 at institutions such as A Ship In The Woods, Planet Rooth, and Gallery D. She is the recipient of a Quick Grant from Rising Arts Leaders San Diego, a Green Public Art Grant and the Isabel Craft Scholarship. Her art can be found in private and public collections such as The San Diego Workforce Partnership headquarters, and Ryan Brothers flagship store. She earned her MFA degree in Sculpture from SDSU in 2011 and has served on The Emerging Museum Professionals and Rising Arts Leaders boards. Who you are as an artist, why do you create? As an artist I make things by continually cycling through a process of absorption, imagination, and experimentation. I studied sculpture and theatre so tactile and bodily relationships lead my process. Having a strong sense of intuition while handling fiber materials allows me to bypass compulsions to control and perfect, which can hinder the process. The experimental aspect of my practice allows unpredictability to prosper. Using my fingers and very few tools as my primary means to create helps me to feature irregularity and imperfection, exposing evidence of the handmade. Up-cycling materials has become part of building a sustainable practice and leads to intentional imperfection and disorder. Materials I up-cycle range from plastic bags to the neoprene in wetsuits, from the vinyl in shower curtains and tablecloths. What inspired this particular piece? My pieces are inspired by the making the mundane experience of domestic labor a more exhilarating one as well as regarding the fanciful experience of performing on stage an ordinary feeling. What draws you to the materials you used? I am drawn to unique textures in cloth and other malleable materials. The attraction is tactile. Silk, hemp, vinyl, wire, linen…I love the qualities in them all. Tell us about your process for making this artwork. These pieces were inspired by the experience of growing up in a family of artists. I also wanted to challenge myself to use the limited materials I had access to, many sourced from thrift stores and donated by family and friends. I crocheted up-cycled red clothing on one side of the apron and then sewed the reflective black material above it, fitting the diva character I envisioned singing while cleaning. On the reverse side, I made the up-cycled table linen a focal point, with it’s lace design front and center. I added a pocket to make it a bit more utilitarian. I sewed on up-cycled cream and peach clothing items that I cut into long thread which I used to crochet. The cream and peach machine-made lace clothing were once dresses before I cut them into long, continuous thread, possibly worn for prom or to a wedding. I always find it interesting to ponder their origin. The tutu I made has layers of tulle. I used pastel colors because I envisioned the wearer embodied in a haze of soft purple and white. I wanted the wearer to look beautiful even though they would also be adorned with trash. The concept of up-cycling and decay intrigued me so I tore some holes in the outer layer of tulle and melted some plastic bag into flower shapes that I sewed on to the tutu. I consulted a ballerina and tutu mistress to make sure the tutu was constructed properly and can be worn by a dancer. Did you experience any challenges of during creation? Combining multiple fiber techniques and up-cycling materials is always challenging. I have to consider the weight, the aesthetic, and if the item is functional. What drew you to this competition? I want to connect to the arts community in North County San Diego. I think OMA patrons will appreciate the way I up-cycle materials to create fanciful pieces that can be worn on the body. I love being inspired by other artists who experiment with wearable art and thought it would be great to learn more about the other artists. In what context do you see your work being worn? These pieces can be worn in performance, costume, for a character photoshoot, or just around the house! they can also be hung on display on the wall for a unique art installation. |
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$1,000Min Bid
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| Trashy Ballet, 2009. Tulle, plastic bags, and wire, 3" x 40" x 42". Artist's website Brief bio Dia Bassett is a visual and performing artist engaged in the experimental and complex relationships found in seemingly mundane materials. She works to transform many materials recognizable within the everyday domestic sphere: linens, thread, worn clothing, among others. Dia Bassett teaches with CoTA (Collaboration of Teachers and Artists), and has previously taught at City Tree Christian School, San Diego Art Institute, the Museum of Contemporary Art San Diego and San Diego State University. She has curated 10 art exhibitions since 2014 at institutions such as A Ship In The Woods, Planet Rooth, and Gallery D. She is the recipient of a Quick Grant from Rising Arts Leaders San Diego, a Green Public Art Grant and the Isabel Craft Scholarship. Her art can be found in private and public collections such as The San Diego Workforce Partnership headquarters, and Ryan Brothers flagship store. She earned her MFA degree in Sculpture from SDSU in 2011 and has served on The Emerging Museum Professionals and Rising Arts Leaders boards. Who you are as an artist, why do you create? As an artist I make things by continually cycling through a process of absorption, imagination, and experimentation. I studied sculpture and theatre so tactile and bodily relationships lead my process. Having a strong sense of intuition while handling fiber materials allows me to bypass compulsions to control and perfect, which can hinder the process. The experimental aspect of my practice allows unpredictability to prosper. Using my fingers and very few tools as my primary means to create helps me to feature irregularity and imperfection, exposing evidence of the handmade. Up-cycling materials has become part of building a sustainable practice and leads to intentional imperfection and disorder. Materials I up-cycle range from plastic bags to the neoprene in wetsuits, from the vinyl in shower curtains and tablecloths. What inspired this particular piece? My pieces are inspired by the making the mundane experience of domestic labor a more exhilarating one as well as regarding the fanciful experience of performing on stage an ordinary feeling. What draws you to the materials you used? I am drawn to unique textures in cloth and other malleable materials. The attraction is tactile. Silk, hemp, vinyl, wire, linen…I love the qualities in them all. Tell us about your process for making this artwork. These pieces were inspired by the experience of growing up in a family of artists. I also wanted to challenge myself to use the limited materials I had access to, many sourced from thrift stores and donated by family and friends. I crocheted up-cycled red clothing on one side of the apron and then sewed the reflective black material above it, fitting the diva character I envisioned singing while cleaning. On the reverse side, I made the up-cycled table linen a focal point, with it’s lace design front and center. I added a pocket to make it a bit more utilitarian. I sewed on up-cycled cream and peach clothing items that I cut into long thread which I used to crochet. The cream and peach machine-made lace clothing were once dresses before I cut them into long, continuous thread, possibly worn for prom or to a wedding. I always find it interesting to ponder their origin. The tutu I made has layers of tulle. I used pastel colors because I envisioned the wearer embodied in a haze of soft purple and white. I wanted the wearer to look beautiful even though they would also be adorned with trash. The concept of up-cycling and decay intrigued me so I tore some holes in the outer layer of tulle and melted some plastic bag into flower shapes that I sewed on to the tutu. I consulted a ballerina and tutu mistress to make sure the tutu was constructed properly and can be worn by a dancer. Did you experience any challenges of during creation? Combining multiple fiber techniques and up-cycling materials is always challenging. I have to consider the weight, the aesthetic, and if the item is functional. What drew you to this competition? I want to connect to the arts community in North County San Diego. I think OMA patrons will appreciate the way I up-cycle materials to create fanciful pieces that can be worn on the body. I love being inspired by other artists who experiment with wearable art and thought it would be great to learn more about the other artists. In what context do you see your work being worn? These pieces can be worn in performance, costume, for a character photoshoot, or just around the house! they can also be hung on display on the wall for a unique art installation. |
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$750Min Bid
$2,250Buy Now
| Crystal Dreams, 2019. Sterling silver, bronze, amethyst, and quartz crystal, 6.5" x 4.5" x 1.5". Artist's website Artist's Instagram page Artist's Facebook page Interview with the artist |
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$3,500Min Bid
$9,000Buy Now
| Ode to Oscar de la Renta, 2014. Perforated metal, nuts and bolts, chicken wire, screen mesh, and clear crystal beads, 56" x 28", 92" base circumference. Artist's Faceboo page Artist's website Watch an interview with the artist |
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| Scarf-Lace, scarf and necklace combo, 2020. Yarn and beads, .5" x 7.5" x 22". Who you are as an artist, why do you create/Short bio Because my art spans many decades and is so diverse here is a snapshot: My jewelry has been in shows at the laguna beach and Long Beach art museums and sold at Nordstrom’s. My wearable art has been shown in many galleries in the West and south west. One of my creations was purchased by Sharon Gless of “Cagney and Lacey”. My flat art was mostly shown in France at the Ville Franche museum of art and in Los Angeles. one of my paintings was purchased by Linda Grey of “Dallas” fame. In the mid seventies I owned and operated a photographic gallery called “picture This”. For years I was a full time artist: photographer, painter, jewelry maker and fiber artist. For the past several years I have transformed homes and interiors. Using my creative energy designing interiors, doing remodels, and staging. I now create for my friends and family.... creating brings great joy to my soul! What drew you to being part of this competition? I have always enjoyed supporting my community, and after moving to carlsbad 2 yrs. ago I started volunteering at OMA and enjoyed being a member for the past 2 yrs. It was only natural for me to want to create something for this event. It’s an honor and a privilege to give ones work to such an important cause! In what context do you see your work being worn? My first idea was to make a beaded fiber art scarf. I love how it morphed into the “scarf-lace” concept a scarf and necklace combo. |
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$150Min Bid
$450Buy Now
| L'Amour Menaçant (Menacing Love), The DIVINE Collection, 2019. Miniature metal birdcage, meta roses, vintage Fontinini figurine, chain, and fabrics, 12" x 5". Artist's website Artist's Instagram page New FIORI Birdcage Handbag embellished with repainted Fontinini vintage figurine. A sweet cherub in the likeness of the famous sculpture “L’amour Menaçant” by artist Étienne-Maurice Falconet in 1757. The statue was made for Madame de Pompadour, King Louis XV’s art-loving mistress. The cherub is wearing a handcrafted baroque style miniature FIORI Crown made of vintage ring hand painted porcelain Lily of the Valley flowers with Swarovski Crystal detailing. A removable hand-dyed and curled ostrich feather tassel that can be attached also to a removable Italian silk pouch that can be worn separately. Color: Versailles Blue |
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$1,700Min Bid
$2,100Buy Now
| The Royal Vintage Birdcage Corset, 2013. Vintage birdcage, 18" x 15". Photography by Christyl O'Flaherty Artist's website Artist's Instagram page The original one-of-a-kind corset, to date the artist's favorite piece of all her designs. Made from a vintage French birdcage dating from the late 1800s. This Rococo/Baroque style corset is embellished with vintage roses and brass filigree component detailing, with key and chain details attached to the door. This couture piece has graced the covers of magazines and adorned numerous Queens. “I have been designing Birdcage Corsets for over 10 years now, which has evolved into designing FIORI Birdcage Handbags. This corset was the first ever corset I created, made from a French birdcage given to me by my mother years ago. Possibilities are endless when you use your imagination to create something different, something beautiful; works of wearable art emerge from of mundane, everyday objects.” -Susan The Vintage Birdcage Corset is currently in the FIORI vault and not for sale. |
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| Traveler, 2019. Yarn and recycled yarns, 55" x 45" x 35". Artist's Etsy site Photography by Krista King unless otherwise noted Interview with the artist part 1 Interview with the artist part 2 Interview with the artist part 3 Brief bio I believe in art that is not only beautiful but also environmentally responsible. Our trash and landfills hold millions of tons of such art materials. I, personally, am committed to reduce, reuse, and recycle when and wherever possible. I love all things sparkly and shiny and see beauty in the broken. Beads, metal pieces, plastic and glass tiles, shells, beach glass, broken jewelry, and handmade embossed clay tiles are my materials. Channeling my mosaic madness, I strive to turn small pieces into artistic statements. The wood I use to mount my mosaics comes from construction waste, old bookshelves and cabinets, and rescued furniture. Thanks go to my friends and family. They are always on the lookout for things I can use in my art and their love and support fuels my creativity. Who you are as an artist, why do you create? Outlet for creativity, feel connected to the Great Spirit, out of necessity(couldn't buy finished product but could afford the supplies), raise awareness for and practice reduce, reuse, recycle. What inspired this particular piece? Inspo Star Trek Next Gen villagers, personal travel. Multi use, multi style, goes over anything, warm&cozy, shabby chic vibe look. No pattern. One of a kind. Tell us about your process for making this artwork. Reduce, Reuse, Recycle but do it high fashion. What's available. Found on world travels, local, streets, garage sales, friends getting rid of things, things that break. Can take days-months. Based on availability of found objects. I can usually see what I can make with something by eyeballing it. Separate salvaged furniture parts, cutting woods if needed&sand, textures&paint, pick focus art&tiles(prior prepped polymer tiles),can work inside out or outside in&lay things before gluing, glue away. Did you experience any challenges of during creation? Stopping to stretch regularly to prevent injury. Helps channel my feelings of powerlessness over the world into a productive action. What drew you to this competition? I LOVE OMA! Love supporting OMA, art education&local artists. Have loved attending Art after Dark in past years. In what context do you see your work being worn? Accessories can be used for decorations, for cocktail parties, theatre nights, casual use, Galas. Traveler travels well, great non restricting warmth addition to any outfit. Best for casual warmth with style, viewing the arts, casual dinners, beach, errands, home comfort, camping, layer for the office. |
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$200Min Bid
$600Buy Now
| Third Eye, 2020. Polymer clay, raw wood, paint, and sterling silver, 3" x 3" x 25". Artist's Etsy site Interview with the artist part 1 Interview with the artist part 2 Interview with the artist part 3 Brief bio I believe in art that is not only beautiful but also environmentally responsible. Our trash and landfills hold millions of tons of such art materials. I, personally, am committed to reduce, reuse, and recycle when and wherever possible. I love all things sparkly and shiny and see beauty in the broken. Beads, metal pieces, plastic and glass tiles, shells, beach glass, broken jewelry, and handmade embossed clay tiles are my materials. Channeling my mosaic madness, I strive to turn small pieces into artistic statements. The wood I use to mount my mosaics comes from construction waste, old bookshelves and cabinets, and rescued furniture. Thanks go to my friends and family. They are always on the lookout for things I can use in my art and their love and support fuels my creativity. Who you are as an artist, why do you create? Outlet for creativity, feel connected to the Great Spirit, out of necessity(couldn't buy finished product but could afford the supplies), raise awareness for and practice reduce, reuse, recycle. What inspired this particular piece? Reflection&quest for raised awareness. Tell us about your process for making this artwork. Reduce, Reuse, Recycle but do it high fashion. What's available. Found on world travels, local, streets, garage sales, friends getting rid of things, things that break. Can take days-months. Based on availability of found objects. I can usually see what I can make with something by eyeballing it. Separate salvaged furniture parts, cutting woods if needed&sand, textures&paint, pick focus art&tiles(prior prepped polymer tiles),can work inside out or outside in&lay things before gluing, glue away. Did you experience any challenges of during creation? Stopping to stretch regularly to prevent injury. Helps channel my feelings of powerlessness over the world into a productive action. What drew you to this competition? I LOVE OMA! Love supporting OMA, art education&local artists. Have loved attending Art after Dark in past years. In what context do you see your work being worn? Accessories can be used for decorations, for cocktail parties, theatre nights, casual use, Galas. Traveler travels well, great non restricting warmth addition to any outfit. Best for casual warmth with style, viewing the arts, casual dinners, beach, errands, home comfort, camping, layer for the office. |
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$30Min Bid
$90Buy Now
| Large Cigar Box Handbag, 2020. Repurposed cigar box from local Oceanside cigar shop, and recycled metal handle from a kitchen drawer, 11" x 8" x 2". Artist's Etsy site Interview with the artist part 1 Interview with the artist part 2 Interview with the artist part 3 Brief bio I believe in art that is not only beautiful but also environmentally responsible. Our trash and landfills hold millions of tons of such art materials. I, personally, am committed to reduce, reuse, and recycle when and wherever possible. I love all things sparkly and shiny and see beauty in the broken. Beads, metal pieces, plastic and glass tiles, shells, beach glass, broken jewelry, and handmade embossed clay tiles are my materials. Channeling my mosaic madness, I strive to turn small pieces into artistic statements. The wood I use to mount my mosaics comes from construction waste, old bookshelves and cabinets, and rescued furniture. Thanks go to my friends and family. They are always on the lookout for things I can use in my art and their love and support fuels my creativity. Who you are as an artist, why do you create? Outlet for creativity, feel connected to the Great Spirit, out of necessity(couldn't buy finished product but could afford the supplies), raise awareness for and practice reduce, reuse, recycle. What inspired this particular piece? "what can I make with this?" &I prefer carry bags to have structure so why not just use a wood box? Tell us about your process for making this artwork. Reduce, Reuse, Recycle but do it high fashion. What's available. Found on world travels, local, streets, garage sales, friends getting rid of things, things that break. Can take days-months. Based on availability of found objects. I can usually see what I can make with something by eyeballing it. Separate salvaged furniture parts, cutting woods if needed&sand, textures&paint, pick focus art&tiles(prior prepped polymer tiles),can work inside out or outside in&lay things before gluing, glue away. Did you experience any challenges of during creation? Stopping to stretch regularly to prevent injury. Helps channel my feelings of powerlessness over the world into a productive action. What drew you to this competition? I LOVE OMA! Love supporting OMA, art education&local artists. Have loved attending Art after Dark in past years. In what context do you see your work being worn? Accessories can be used for decorations, for cocktail parties, theatre nights, casual use, Galas. Traveler travels well, great non restricting warmth addition to any outfit. Best for casual warmth with style, viewing the arts, casual dinners, beach, errands, home comfort, camping, layer for the office. |
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| Small Wood Box Handbag, 2020. Recycled wood box, recycled metal handle from a dresser, paint, and stamps, 6" x 4" x 2.5". Artist's Etsy site Interview with the artist part 1 Interview with the artist part 2 Interview with the artist part 3 Brief bio I believe in art that is not only beautiful but also environmentally responsible. Our trash and landfills hold millions of tons of such art materials. I, personally, am committed to reduce, reuse, and recycle when and wherever possible. I love all things sparkly and shiny and see beauty in the broken. Beads, metal pieces, plastic and glass tiles, shells, beach glass, broken jewelry, and handmade embossed clay tiles are my materials. Channeling my mosaic madness, I strive to turn small pieces into artistic statements. The wood I use to mount my mosaics comes from construction waste, old bookshelves and cabinets, and rescued furniture. Thanks go to my friends and family. They are always on the lookout for things I can use in my art and their love and support fuels my creativity. Who you are as an artist, why do you create? Outlet for creativity, feel connected to the Great Spirit, out of necessity(couldn't buy finished product but could afford the supplies), raise awareness for and practice reduce, reuse, recycle. What inspired this particular piece? Playing with paint&stamping textures, handle from alley furniture before trash pickup. Tell us about your process for making this artwork. Reduce, Reuse, Recycle but do it high fashion. What's available. Found on world travels, local, streets, garage sales, friends getting rid of things, things that break. Can take days-months. Based on availability of found objects. I can usually see what I can make with something by eyeballing it. Separate salvaged furniture parts, cutting woods if needed&sand, textures&paint, pick focus art&tiles(prior prepped polymer tiles),can work inside out or outside in&lay things before gluing, glue away. Did you experience any challenges of during creation? Stopping to stretch regularly to prevent injury. Helps channel my feelings of powerlessness over the world into a productive action. What drew you to this competition? I LOVE OMA! Love supporting OMA, art education&local artists. Have loved attending Art after Dark in past years. In what context do you see your work being worn? Accessories can be used for decorations, for cocktail parties, theatre nights, casual use, Galas. Traveler travels well, great non restricting warmth addition to any outfit. Best for casual warmth with style, viewing the arts, casual dinners, beach, errands, home comfort, camping, layer for the office. |
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| Torn, 2020. Repurposed eye shadow pigments, stamped polymer clay, and recycled refurbished torn wallet, 4" x 8" x 1". Artist's Etsy site Interview with the artist part 1 Interview with the artist part 2 Interview with the artist part 3 Brief bio I believe in art that is not only beautiful but also environmentally responsible. Our trash and landfills hold millions of tons of such art materials. I, personally, am committed to reduce, reuse, and recycle when and wherever possible. I love all things sparkly and shiny and see beauty in the broken. Beads, metal pieces, plastic and glass tiles, shells, beach glass, broken jewelry, and handmade embossed clay tiles are my materials. Channeling my mosaic madness, I strive to turn small pieces into artistic statements. The wood I use to mount my mosaics comes from construction waste, old bookshelves and cabinets, and rescued furniture. Thanks go to my friends and family. They are always on the lookout for things I can use in my art and their love and support fuels my creativity. Who you are as an artist, why do you create? Outlet for creativity, feel connected to the Great Spirit, out of necessity(couldn't buy finished product but could afford the supplies), raise awareness for and practice reduce, reuse, recycle. What inspired this particular piece? Had to have 1 with mosaic work on it of course. Tell us about your process for making this artwork. Reduce, Reuse, Recycle but do it high fashion. What's available. Found on world travels, local, streets, garage sales, friends getting rid of things, things that break. Can take days-months. Based on availability of found objects. I can usually see what I can make with something by eyeballing it. Separate salvaged furniture parts, cutting woods if needed&sand, textures&paint, pick focus art&tiles(prior prepped polymer tiles),can work inside out or outside in&lay things before gluing, glue away. Did you experience any challenges of during creation? Stopping to stretch regularly to prevent injury. Helps channel my feelings of powerlessness over the world into a productive action. What drew you to this competition? I LOVE OMA! Love supporting OMA, art education&local artists. Have loved attending Art after Dark in past years. In what context do you see your work being worn? Accessories can be used for decorations, for cocktail parties, theatre nights, casual use, Galas. Traveler travels well, great non restricting warmth addition to any outfit. Best for casual warmth with style, viewing the arts, casual dinners, beach, errands, home comfort, camping, layer for the office. |
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| Quills - Skins Series, 2020. Metal, wood, and quills (porcupines were not harmed in the making of this art. Their quills were sourced through natural shedding), Head piece 24" x 28" x 15", Chest piece 24" x 15". Artist's website Artist's Instagram page Watch an interview with the artist Who are you as an artist and why do you create? I make wearable art made out of organic materials. I am a multidisciplinary artist who combines sculpture, found objects, fashion, and photography. I create art because it completely fulfills me; without art I would be lost. I love having an idea, a thought, a mood and bringing it to life. What inspired this particular piece? The wheat construction was inspired many years earlier while walking my dog through a wheat field in Switzerland. I loved the texture and softness it created when bundled in large quantities. I also loved the braided design it took on resembling human hair. Unfortunately, when I finally decided to build the outfit, I had to source the wheat from other locations. I loved that particular Swiss farm and was hoping to pull directly from my original inspiration. Tell us about your process for making this artwork? I start by choosing the organic material I'm going to use; this tends to be a fairly spontaneous process. I then move into deep research about use in culture, history, origin, etc.. What’s so interesting is that even after all these years, my spiritual experience working so closely with the natural world is invaluable to both my process and to me. Did you use any special or technically challenging techniques to create your artwork? My wearable constructions are always challenging as I never use the same item twice. This means I’m always using a new material for the first time. To me, this is what excites me the most - the discovery of transformation. Did you face any challenges or overcome any issues while creating this art work? My biggest challenge is that most of my materials don’t last forever. As such, they are continuously evolving and decomposing. I overcome this challenge by documenting the wok through my photography, which in itself, is a whole new process of exciting discovery. What drew you to being part of this competition? I was part of the Dress Rehearsal show curated by Kate Stern in Oceanside Museum 2019. The show was a huge success and I was asked to participate in this competition. I feel so blessed and honored to back at Oceanside! |
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| Rice - Skins Series, 2019. Plastic, fabric, and rice, 32" x 22" x 22". Artist's website Artist's Instagram page Watch an interview with the artist Who are you as an artist and why do you create? I make wearable art made out of organic materials. I am a multidisciplinary artist who combines sculpture, found objects, fashion, and photography. I create art because it completely fulfills me; without art I would be lost. I love having an idea, a thought, a mood and bringing it to life. What inspired this particular piece? The wheat construction was inspired many years earlier while walking my dog through a wheat field in Switzerland. I loved the texture and softness it created when bundled in large quantities. I also loved the braided design it took on resembling human hair. Unfortunately, when I finally decided to build the outfit, I had to source the wheat from other locations. I loved that particular Swiss farm and was hoping to pull directly from my original inspiration. Tell us about your process for making this artwork? I start by choosing the organic material I'm going to use; this tends to be a fairly spontaneous process. I then move into deep research about use in culture, history, origin, etc.. What’s so interesting is that even after all these years, my spiritual experience working so closely with the natural world is invaluable to both my process and to me. Did you use any special or technically challenging techniques to create your artwork? My wearable constructions are always challenging as I never use the same item twice. This means I’m always using a new material for the first time. To me, this is what excites me the most - the discovery of transformation. Did you face any challenges or overcome any issues while creating this art work? My biggest challenge is that most of my materials don’t last forever. As such, they are continuously evolving and decomposing. I overcome this challenge by documenting the wok through my photography, which in itself, is a whole new process of exciting discovery. What drew you to being part of this competition? I was part of the Dress Rehearsal show curated by Kate Stern in Oceanside Museum 2019. The show was a huge success and I was asked to participate in this competition. I feel so blessed and honored to back at Oceanside! |
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| Microscopy Cardigan, 2018. Cardigan made of chiffon fabric printed with real microscopy images of human cells. The blue structures represent the nuclei, which carry our genetic information. The cyan-colored network highlights the microtubules – a fascinating component of the cell's skeleton that enables a wide variety of cellular processes, like cell division and transport., Length: 23". Artist's website Interview with the artist |
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| Molecular Rainbow Skirt, 2018. Wrap skirt made of peachskin jersey printed with real microscopy images of human cells. The blue structures represent the nuclei, which carry our genetic information. The rainbow-colored gradient highlights the microtubules – a fascinating component of the cell's skeleton that enables a wide variety of cellular processes, like cell division and transport., Length: 23". Artist's website Interview with the artist |
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$75Min Bid
$225Buy Now
| Cytoskeleton Science Scarf, 2017. Scarf made of a cashmere blend printed with microscopy images. The print on the fabric is created from a collage of real microscopy images of human cells. Each cell has a unique shape created by a skeleton made of actin filaments, which provide mechanical support and are essential for cell movement and division., 71" x 27". Artist's website Interview with the artist |
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$95Min Bid
$285Buy Now
| Silver Leaves, 2019. Aluminum, 20" x 50" x 35". Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| Enredadera, 2016. Aluminum, 29 in x 17 in x 15 in. Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| Heliotropism, 2017. Aluminum, 28" x 26" x 30". Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| Hojarasca, 2019. Aluminum, 55" x 24" x 20. Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| Organic Forms, 2018. Aluminum, beading, and wire, 47" x 21" x 11". Artist's Instagram page Interview with the artist Photography by Eric Stoner Short bio Beatriz Mora-Hussar was born and raised in Mérida, Venezuela and moved to the United States in 1996. In 2009, Beatriz enrolled as a non-traditional student at Fullerton College, subsequently transferring to California State University, Fullerton and graduating with a Bachelor of Fine Arts degree in 2016. In spring 2019 she completed a Master of Fine Arts with a concentration in jewelry and metalworking at CSUF. Her future goals are to become an art instructor at the postsecondary level and to establish her own artistic practice. Who you are as an artist, why do you create? Making art is an approach to life. The process through which an idea is born and developed to the final touches of its execution is a fulfilling learning experience that presents me with the opportunity for self-expression and creativity. I invest many hours trying to perfect the object I want to make in order to communicate through it effectively. Creating art engages me intellectually and emotionally. It prompts me to see things from different perspectives and teaches me that there are many ways to represent a single theme. The challenge the production of works of art represents transforms this process into a stimulating activity. What inspired this particular piece? As an artist, I create body ornamentation featuring natural motifs in order to prompt the urban mind to recall the forgotten meaning of nature and recognize its connection to the human spirit. I elucidate this connection by appropriating organic forms and shapes like leaves, pieces of bark, lichens, and other elements found in nature, enlarging and reproducing those shapes in aluminum, and assembling the resulting pieces by using cold connections to create large body ornaments that I call “wearable art.” Through these objects I aspire, not only, to decorate the human body, but also to forge bonds between the wearer, the observer, and nature, as well as to spark conversation among the individuals interacting with my work. My art intends to generate physical and psychological dialogs that question our motives for decorating our bodies and explore how such ornamentation makes us feel. I believe that interactions between people and nature are a fundamental part of the human experience. Sadly, we have distanced ourselves from the natural world as if it were an entity alien to what we do and who we are. Through my creations, I want to represent the world that comes from nature and that connects us with the universe. In this way, natural beauty so quotidian that is almost invisible becomes reinterpreted and transformed. What draws you to the materials you used? The metal I use to create my work is aluminum. I like to work with aluminum because it’s a soft metal and light weight. It is easier for the models to wear them and carry them around. Tell us about your process for making this artwork. The way I put these pieces together is by fabricating my pieces. I buy big pieces of aluminum, I copy the design on sheets of aluminum, I cut them, I file them, sand them to add texture, and after they are ready I can assemble them. The way I assemble them is by connecting them with cold connections, meaning I don’t use fire to put the pieces together. What I do is use rivets, which are created by me using an aluminum wire in a small hole. I drill a hole in the pieces, I put the wire there, I hammer on the top and the bottom, and then my piece is created. Did you face any challenges or overcome any issues while creating this artwork? The challenge is usually because of the size of my pieces. It’s sometimes very hard, when half of the piece is already assembled to be able to reach certain spots where I need to drill a hole and put a little piece of wire. It’s challenging but it’s so much fun. What drew you to being part of this competition? What pushed me to bring my pieces to this show was that it is nice that they are going to show the pieces being worn. That’s the best way to show wearable art, by being worn. That creates a conversation between the creator, the wearer, and the audience. In what context do you see your work being worn? I see my work being worn perhaps on the red carpet where many people can see them and talk about them. |
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| Cult of Entropy, 2020. Plaster over fiberglass mesh, wax, pigment, 24K gold leaf, and found ephemera, Mask : approx 4" x 9", Chestpiece: approx 9" x 22". Artist's website Artist's Instagram page Watch an interview with the artist Short bio Stacy Nixon lives and works from her home studio in the San Diego backcountry and her ranch in Northern New Mexico. Much of her artwork utilizes encaustic, pigment, oil, and gilding. Through many years spent studying Fine Art and Applied Design, Nixon has developed a style which reflects an empathic experience of her surroundings. She spends the time she is not painting reading building stuff, watching clouds, and traveling. Who are you as an artist? Why do you Create? I’ve come to understand now that my paintings are not so much compositions as separate spaces. Although two dimensional for the most part they are a space for the viewer to visit. They open up a quiet moment, a place to rest. They are somewhere to come in order to revisit a lost past within oneself, to stir an old memory, to bring the mind to a place of stillness where we can hear our own thoughts again, somewhere to connect with forgotten things. Deep quiet reflection is something greatly undervalued in our culture at the present moment. It is where truth and beauty lie. It is where we answer our own questions and are able to hear important new ones. It is necessary to keep the heart full. What inspired this particular piece? I was thinking a lot about the different ways modern and ancient people would get themselves into a state where they were able to access their subconscious mind. This of course brought to my mind the ancient mystery cults of Greece and Rome, their rites and rituals. Things like sacrifice, sex magic, role playing, animal worship - all the good stuff. Many of these rituals surrounded the cycle of life, death and rebirth, and movement from one state to the next. The discomfort we feel around these subjects, I feel, comes from a lack of modern ritual venerating them. Objects and bodies getting older and showing wear, falling apart and no longer being perfect is felt to be a problem. Resisting the entropy of nature is time consuming and stressful. There is freedom in embracing it. This piece is about that- worship of that cycle. Challenges of Creation? My biggest challenge in making this was losing my model to form the chest piece and mask on. I knew it needed to be formed to a human body in order to have the organic feeling I wanted. I used myself in the end, and glad I did. I was able to better understand the meaning behind it by going through the ritual of creating it on my own body, putting on the mask and stepping into the idea. What drew you to this competition? I’ve been interested in moving some of my processes in the direction of sculpture and had been experimenting with this process in particular so it was perfect. I just finished a large series of paintings around some of these same themes and wanted to push a little further. |
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$450Min Bid
$1,350Buy Now
| Frosted Headdress, 2020. Faux crystal branches, faux frosted branches, metallic mesh, faux silver leaves, and hat form, 17" x 16" x 13". Artist's website Artist's Instagram page Interview with the artist Short bio Fiona Phillips is a contemporary artist living in Vista, CA. Much of what shapes her studio practice is derived from her experiences both as a girl in England and as part of an English immigrant family in America. Memory and relationships are a source of inspiration for much of the work she has done in the last several years. Most recently Fiona has become interested in exploring a possible connection between the 1950’s and contemporary women. The main focus of her studio work is figurative oil painting but finds inspiration in other media such as photography, wearable art, drawing and encaustic. Fiona earned an MFA in Visual Art from Vermont College of Fine Art in 2008, and an MA in Painting from Cal State Dominguez Hills in 2001. She was an adjunct professor of art at Southern Utah University until 2009. Fiona has worked and exhibited extensively in the US. She recently enjoyed one person exhibitions in Utah, Arizona and Nevada. Fiona is married to the love of her life and has a wonderful, energetic family. Who you are as an artist, why do you create I am a visual artist. I make art that inspires me using the materials most suited to the project whether its paint, photography, fabrics or installation. My mother taught me to sew when I was 11 years old. I started making most of my dresses, skirts, pants and even t-shirts after that. Although I don't use my sewing skills for personal clothing much any more, I still think I am in heaven in a well stocked fabric store. My other love (besides painting) is flowers. Whether walking through a beautiful garden, working in mine or using beautiful faux flowers it makes me happy. What draws you to the materials you used? I love working with fabrics and florals and they have been part of my studio process for many years. I have often used models wearing my headdresses and art dresses in paintings. Sometimes these paintings, and the accompanying headdresses and art dresses, were shown together or became the subject of a video. Twice the wearable art was worn in performances by the St. George Dance Company, which was amazing! I use a styrofoam head form and begin placing the materials I have chosen, sculpting an overall shape that is unified by movement, color and texture. Once the basic design is determined I adhere materials that support the shape, movement and idea to a hat form using glue, wiring and stitching. Tell us about your process for making this artwork. My process begins with an idea. I will often think about something for quite a while before I begin to create. Then I allow the idea to dictate the choices of materials. As I begin to craft the headdress I think about the feeling of the subject matter: here it is spring, summer, autumn and fall. In the Autumnal headdress for example I wanted to celebrate the memories I have of glorious fall colors and the feelings of crisp air and abundant harvests. In the Frost Headdress I was thinking of frosty days when your breath turns to steam in the air and how hoar frosts make the trees magical with crystallized dew drops. The Primavera headdress was inspired by the birds that made nests outside my kitchen window and the first flowers that chased the winter blues away. And the Verano headdress is a celebration of all summer flowers and their profusion of color. What drew you to being part of this competition? I am very interested in the variety and complexity of wearable art - I find the creativity of wearable artists awesome and inspiring. I am especially excited to exhibit along with Melissa Meier who is incredible! In what context do you see your work being worn? My headdresses could be worn in a variety of settings including fancy dress balls, costume parties, opening hats day at the races, afternoon tea parties, Halloween, Mardi Gras etc. |
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$400Min Bid
$1,200Buy Now
| Autumnal Headdress, 2020. Dried flowers, silk leaves, silk flowers, and hat form, 14" x 11" x 15". Artist's website Interview with the artist Artist's Instagram page Short bio Fiona Phillips is a contemporary artist living in Vista, CA. Much of what shapes her studio practice is derived from her experiences both as a girl in England and as part of an English immigrant family in America. Memory and relationships are a source of inspiration for much of the work she has done in the last several years. Most recently Fiona has become interested in exploring a possible connection between the 1950’s and contemporary women. The main focus of her studio work is figurative oil painting but finds inspiration in other media such as photography, wearable art, drawing and encaustic. Fiona earned an MFA in Visual Art from Vermont College of Fine Art in 2008, and an MA in Painting from Cal State Dominguez Hills in 2001. She was an adjunct professor of art at Southern Utah University until 2009. Fiona has worked and exhibited extensively in the US. She recently enjoyed one person exhibitions in Utah, Arizona and Nevada. Fiona is married to the love of her life and has a wonderful, energetic family. Who you are as an artist, why do you create I am a visual artist. I make art that inspires me using the materials most suited to the project whether its paint, photography, fabrics or installation. My mother taught me to sew when I was 11 years old. I started making most of my dresses, skirts, pants and even t-shirts after that. Although I don't use my sewing skills for personal clothing much any more, I still think I am in heaven in a well stocked fabric store. My other love (besides painting) is flowers. Whether walking through a beautiful garden, working in mine or using beautiful faux flowers it makes me happy. What draws you to the materials you used? I love working with fabrics and florals and they have been part of my studio process for many years. I have often used models wearing my headdresses and art dresses in paintings. Sometimes these paintings, and the accompanying headdresses and art dresses, were shown together or became the subject of a video. Twice the wearable art was worn in performances by the St. George Dance Company, which was amazing! I use a styrofoam head form and begin placing the materials I have chosen, sculpting an overall shape that is unified by movement, color and texture. Once the basic design is determined I adhere materials that support the shape, movement and idea to a hat form using glue, wiring and stitching. Tell us about your process for making this artwork. My process begins with an idea. I will often think about something for quite a while before I begin to create. Then I allow the idea to dictate the choices of materials. As I begin to craft the headdress I think about the feeling of the subject matter: here it is spring, summer, autumn and fall. In the Autumnal headdress for example I wanted to celebrate the memories I have of glorious fall colors and the feelings of crisp air and abundant harvests. In the Frost Headdress I was thinking of frosty days when your breath turns to steam in the air and how hoar frosts make the trees magical with crystallized dew drops. The Primavera headdress was inspired by the birds that made nests outside my kitchen window and the first flowers that chased the winter blues away. And the Verano headdress is a celebration of all summer flowers and their profusion of color. What drew you to being part of this competition? I am very interested in the variety and complexity of wearable art - I find the creativity of wearable artists awesome and inspiring. I am especially excited to exhibit along with Melissa Meier who is incredible! In what context do you see your work being worn? My headdresses could be worn in a variety of settings including fancy dress balls, costume parties, opening hats day at the races, afternoon tea parties, Halloween, Mardi Gras etc. |
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$400Min Bid
$1,200Buy Now
| Primavera Headdress, 2020. Silk flowers, decorative bird, bird's nest, and bird eggs, 15" x 14" x 14". Artist's website Interview with the artist Artist's Instagram page Short bio Fiona Phillips is a contemporary artist living in Vista, CA. Much of what shapes her studio practice is derived from her experiences both as a girl in England and as part of an English immigrant family in America. Memory and relationships are a source of inspiration for much of the work she has done in the last several years. Most recently Fiona has become interested in exploring a possible connection between the 1950’s and contemporary women. The main focus of her studio work is figurative oil painting but finds inspiration in other media such as photography, wearable art, drawing and encaustic. Fiona earned an MFA in Visual Art from Vermont College of Fine Art in 2008, and an MA in Painting from Cal State Dominguez Hills in 2001. She was an adjunct professor of art at Southern Utah University until 2009. Fiona has worked and exhibited extensively in the US. She recently enjoyed one person exhibitions in Utah, Arizona and Nevada. Fiona is married to the love of her life and has a wonderful, energetic family. Who you are as an artist, why do you create I am a visual artist. I make art that inspires me using the materials most suited to the project whether its paint, photography, fabrics or installation. My mother taught me to sew when I was 11 years old. I started making most of my dresses, skirts, pants and even t-shirts after that. Although I don't use my sewing skills for personal clothing much any more, I still think I am in heaven in a well stocked fabric store. My other love (besides painting) is flowers. Whether walking through a beautiful garden, working in mine or using beautiful faux flowers it makes me happy. What draws you to the materials you used? I love working with fabrics and florals and they have been part of my studio process for many years. I have often used models wearing my headdresses and art dresses in paintings. Sometimes these paintings, and the accompanying headdresses and art dresses, were shown together or became the subject of a video. Twice the wearable art was worn in performances by the St. George Dance Company, which was amazing! I use a styrofoam head form and begin placing the materials I have chosen, sculpting an overall shape that is unified by movement, color and texture. Once the basic design is determined I adhere materials that support the shape, movement and idea to a hat form using glue, wiring and stitching. Tell us about your process for making this artwork. My process begins with an idea. I will often think about something for quite a while before I begin to create. Then I allow the idea to dictate the choices of materials. As I begin to craft the headdress I think about the feeling of the subject matter: here it is spring, summer, autumn and fall. In the Autumnal headdress for example I wanted to celebrate the memories I have of glorious fall colors and the feelings of crisp air and abundant harvests. In the Frost Headdress I was thinking of frosty days when your breath turns to steam in the air and how hoar frosts make the trees magical with crystallized dew drops. The Primavera headdress was inspired by the birds that made nests outside my kitchen window and the first flowers that chased the winter blues away. And the Verano headdress is a celebration of all summer flowers and their profusion of color. What drew you to being part of this competition? I am very interested in the variety and complexity of wearable art - I find the creativity of wearable artists awesome and inspiring. I am especially excited to exhibit along with Melissa Meier who is incredible! In what context do you see your work being worn? My headdresses could be worn in a variety of settings including fancy dress balls, costume parties, opening hats day at the races, afternoon tea parties, Halloween, Mardi Gras etc. |
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--Bids
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$400Min Bid
$1,200Buy Now
| Verano Headdress, 2020. Silk flowers and beret, 15" x 15" x 11". Artist's website Interview with the artist Artist's Instagram page Short bio Fiona Phillips is a contemporary artist living in Vista, CA. Much of what shapes her studio practice is derived from her experiences both as a girl in England and as part of an English immigrant family in America. Memory and relationships are a source of inspiration for much of the work she has done in the last several years. Most recently Fiona has become interested in exploring a possible connection between the 1950’s and contemporary women. The main focus of her studio work is figurative oil painting but finds inspiration in other media such as photography, wearable art, drawing and encaustic. Fiona earned an MFA in Visual Art from Vermont College of Fine Art in 2008, and an MA in Painting from Cal State Dominguez Hills in 2001. She was an adjunct professor of art at Southern Utah University until 2009. Fiona has worked and exhibited extensively in the US. She recently enjoyed one person exhibitions in Utah, Arizona and Nevada. Fiona is married to the love of her life and has a wonderful, energetic family. Who you are as an artist, why do you create I am a visual artist. I make art that inspires me using the materials most suited to the project whether its paint, photography, fabrics or installation. My mother taught me to sew when I was 11 years old. I started making most of my dresses, skirts, pants and even t-shirts after that. Although I don't use my sewing skills for personal clothing much any more, I still think I am in heaven in a well stocked fabric store. My other love (besides painting) is flowers. Whether walking through a beautiful garden, working in mine or using beautiful faux flowers it makes me happy. What draws you to the materials you used? I love working with fabrics and florals and they have been part of my studio process for many years. I have often used models wearing my headdresses and art dresses in paintings. Sometimes these paintings, and the accompanying headdresses and art dresses, were shown together or became the subject of a video. Twice the wearable art was worn in performances by the St. George Dance Company, which was amazing! I use a styrofoam head form and begin placing the materials I have chosen, sculpting an overall shape that is unified by movement, color and texture. Once the basic design is determined I adhere materials that support the shape, movement and idea to a hat form using glue, wiring and stitching. Tell us about your process for making this artwork. My process begins with an idea. I will often think about something for quite a while before I begin to create. Then I allow the idea to dictate the choices of materials. As I begin to craft the headdress I think about the feeling of the subject matter: here it is spring, summer, autumn and fall. In the Autumnal headdress for example I wanted to celebrate the memories I have of glorious fall colors and the feelings of crisp air and abundant harvests. In the Frost Headdress I was thinking of frosty days when your breath turns to steam in the air and how hoar frosts make the trees magical with crystallized dew drops. The Primavera headdress was inspired by the birds that made nests outside my kitchen window and the first flowers that chased the winter blues away. And the Verano headdress is a celebration of all summer flowers and their profusion of color. What drew you to being part of this competition? I am very interested in the variety and complexity of wearable art - I find the creativity of wearable artists awesome and inspiring. I am especially excited to exhibit along with Melissa Meier who is incredible! In what context do you see your work being worn? My headdresses could be worn in a variety of settings including fancy dress balls, costume parties, opening hats day at the races, afternoon tea parties, Halloween, Mardi Gras etc. |
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| Progress images pictured above, completed image available October 24: Blowfish Necklace, 2016/2020. Rubber tubing, styrofoam, o rings, paper, paper mache, yarns, ribbons, threads for the chain, 4" x 4" x 4". Artist's website Who you are as an artist, why do you create/Short bio I have retired from being a career artist and enjoy playing and creating for fun. “Creating” is having fun- back to my kindergarten days. I was a mechanical engineer for 19 years then retired from that to become an artist. I became a welder and created functional and non- functional metal art for 23 years. I retired from that to move here 4 years ago. But I still enjoy playing. What drew you to being part of this competition? I had made some of the blowfish sculptures when I learned I was moving to San Diego. When I saw your call for artists I decided to have some fun and use one of the blowfish sculptures. What draws you to the materials you used? The blowfish is made of styrofoam, tissue paper, rubber tubing and o-rings. The chain is sofa can pop tops, a strip of silk and embroidery floss. Tell us about your process for making this artwork. My process? I just played. In what context do you see your work being worn? Person to wear this? Someone who just enjoys being an individual and is fun. |
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$75Min Bid
$225Buy Now
| Fabulous Fringe Scarf, 2020. Merino wool, silk, and organza, 72" x 18". Artist's website Jan Rolston is an award winning artist and educator. Her mission is to inspire and elevate the spirit through ART. There was a knock on my door and a man in a blue uniform and a badge said to me, I’m from the Police Department, ART Squad. We’ve had some complaints that you’ve been making ART that is causing people to think. I’m afraid you’re under arrest.” I said, “TAKE ME AWAY.” My creative use of materials is born out of the love of Texture and influence by tribal cultures and ancient techniques of Felting, Dyeing and Printing of Fabrics. This scarf is a festive collaboration of merino wool, silk and tulle fabric fused together using the age old method of wet felting. This is a perfect fashion accessory to accent your little black dress to celebrate the Holiday Season. |
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| Untitled, from the All We Have Is Now Project, 2015. Pebble smartwatch and code, 2" x 1.5" x .5". Artist's website Artist's Instagram Artist's Facebook |
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$475Min Bid
$1,425Buy Now
| Apocalypse I, 2020. Craft foam, contact cement, acrylic paint, embroidery floss, brass findings, elastic, and plastic cord button, 6" x 8" x 6". Artist's Facebook page Photography by Chris Barbour Photography by Embrace Yourself Photography Modeled by Codasing Learn about the making of the artwork It’s not about having fancy art supplies, it’s how much you transform the starting material and working with what you’ve got. Who you are as an artist, why do you create? I am an artist of many trades - a tailor, a sculptor a painter, a music maker…. I like to design and sew garments and costumes, especially for stage performance, I like to paint stuff and draw and sketch, I also write a ton of poetry and music. That’s actually my main interest, and it inspires all of my other creative works. So sometimes I will write a poem, and the poem will become a song, maybe the song inspires a garment, then the garment inspires a performance, and who knows, that might become a music video. I have a solo act called a Stray Catalyst - I would call it a Gesamt Kunstwerk, a German phrase meaning an “all together work”. Basically that means the artist takes complete control of the entire creative process. What inspired this particular piece? Just because I’m in charge doesn’t mean a project can’t be a collaborative process. So in the case of my recent art piece, A Pinion Queen, I collaborated with creative partner Maximos Koukos who wrote a song with that same title, Pinion Queen. He envisioned a music video that featured a figure with massive black wings looming over him at the piano. So he asked me to build him a giant pair of moving wings. What draws you to the materials you used? These wings are made mostly of foam. I did not want to use any real feathers because I did not want any birds to be harmed for the sake of art. So I shaped each of these foam feathers by hand. A skeleton is made with a combo of PVC and pegs pipe. Did you face any challenges or overcome any issues while creating this artwork? The skeletal structure was a major challenge in the design, finding a material that was rigid enough to support the wings but flexible enough to be realistic. Also it had to be lightweight and actually wearable. This is not a display piece, it was meant to be worn by a moving person. One more serious consideration was portability, we had to be able to break it down and transport it. You’re probably wondering, where is this music video?? Well, the pandemic hit, we lost our main sources of income, then a bunch of other stuff happened, and the music video is not happening. What drew you to being part of this competition? When Max and his wife moved out of town I asked if he wanted to take the wings with him and he said they would basically just be sitting around in storage, so I jokingly said I would have them display in an art gallery and auction them off for a million bucks! That’s how they ended up here. I just couldn’t stand the thought of something so beautiful being hidden away from public view. It’s something that we created. It’s art that was brought into existence by music and inspiration. Whether or not the music video becomes a reality it will always live in our minds. It cannot be uncreated. |
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| Apocalypse II, 2020. Craft foam, contact cement, acrylic paint, upcycled petri dishes, and brass buttons, 10" x 8" x 18". Artist's Facebook page Photography by Chris Barbour Learn about the making of the artwork It’s not about having fancy art supplies, it’s how much you transform the starting material and working with what you’ve got. Who you are as an artist, why do you create? I am an artist of many trades - a tailor, a sculptor a painter, a music maker…. I like to design and sew garments and costumes, especially for stage performance, I like to paint stuff and draw and sketch, I also write a ton of poetry and music. That’s actually my main interest, and it inspires all of my other creative works. So sometimes I will write a poem, and the poem will become a song, maybe the song inspires a garment, then the garment inspires a performance, and who knows, that might become a music video. I have a solo act called a Stray Catalyst - I would call it a Gesamt Kunstwerk, a German phrase meaning an “all together work”. Basically that means the artist takes complete control of the entire creative process. What inspired this particular piece? Just because I’m in charge doesn’t mean a project can’t be a collaborative process. So in the case of my recent art piece, A Pinion Queen, I collaborated with creative partner Maximos Koukos who wrote a song with that same title, Pinion Queen. He envisioned a music video that featured a figure with massive black wings looming over him at the piano. So he asked me to build him a giant pair of moving wings. What draws you to the materials you used? These wings are made mostly of foam. I did not want to use any real feathers because I did not want any birds to be harmed for the sake of art. So I shaped each of these foam feathers by hand. A skeleton is made with a combo of PVC and pegs pipe. Did you face any challenges or overcome any issues while creating this artwork? The skeletal structure was a major challenge in the design, finding a material that was rigid enough to support the wings but flexible enough to be realistic. Also it had to be lightweight and actually wearable. This is not a display piece, it was meant to be worn by a moving person. One more serious consideration was portability, we had to be able to break it down and transport it. You’re probably wondering, where is this music video?? Well, the pandemic hit, we lost our main sources of income, then a bunch of other stuff happened, and the music video is not happening. What drew you to being part of this competition? When Max and his wife moved out of town I asked if he wanted to take the wings with him and he said they would basically just be sitting around in storage, so I jokingly said I would have them display in an art gallery and auction them off for a million bucks! That’s how they ended up here. I just couldn’t stand the thought of something so beautiful being hidden away from public view. It’s something that we created. It’s art that was brought into existence by music and inspiration. Whether or not the music video becomes a reality it will always live in our minds. It cannot be uncreated. |
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| ReConstructed Hardhat, 2019. Upcycled construction helmet (hard hat) with built-in swivel earmuffs (fully functional!), Worbla (thermoplastic), upcycled yoga mat (the underlayment is foam), air-dry clay (also part of the underlayment), spray foam (underlayment), cardboard (underlayment), white glue, and acrylic paint, 13" x 17" x 14". Artist's Facebook page It’s not about having fancy art supplies, it’s how much you transform the starting material and working with what you’ve got. Who you are as an artist, why do you create? I am an artist of many trades - a tailor, a sculptor a painter, a music maker…. I like to design and sew garments and costumes, especially for stage performance, I like to paint stuff and draw and sketch, I also write a ton of poetry and music. That’s actually my main interest, and it inspires all of my other creative works. So sometimes I will write a poem, and the poem will become a song, maybe the song inspires a garment, then the garment inspires a performance, and who knows, that might become a music video. I have a solo act called a Stray Catalyst - I would call it a Gesamt Kunstwerk, a German phrase meaning an “all together work”. Basically that means the artist takes complete control of the entire creative process. What inspired this particular piece? Just because I’m in charge doesn’t mean a project can’t be a collaborative process. So in the case of my recent art piece, A Pinion Queen, I collaborated with creative partner Maximos Koukos who wrote a song with that same title, Pinion Queen. He envisioned a music video that featured a figure with massive black wings looming over him at the piano. So he asked me to build him a giant pair of moving wings. What draws you to the materials you used? These wings are made mostly of foam. I did not want to use any real feathers because I did not want any birds to be harmed for the sake of art. So I shaped each of these foam feathers by hand. A skeleton is made with a combo of PVC and pegs pipe. Did you face any challenges or overcome any issues while creating this artwork? The skeletal structure was a major challenge in the design, finding a material that was rigid enough to support the wings but flexible enough to be realistic. Also it had to be lightweight and actually wearable. This is not a display piece, it was meant to be worn by a moving person. One more serious consideration was portability, we had to be able to break it down and transport it. You’re probably wondering, where is this music video?? Well, the pandemic hit, we lost our main sources of income, then a bunch of other stuff happened, and the music video is not happening. What drew you to being part of this competition? When Max and his wife moved out of town I asked if he wanted to take the wings with him and he said they would basically just be sitting around in storage, so I jokingly said I would have them display in an art gallery and auction them off for a million bucks! That’s how they ended up here. I just couldn’t stand the thought of something so beautiful being hidden away from public view. It’s something that we created. It’s art that was brought into existence by music and inspiration. Whether or not the music video becomes a reality it will always live in our minds. It cannot be uncreated. |
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$150Min Bid
$450Buy Now
| This Pauldron Has Seen Some Brighter Days, 2019. EVA foam, Worbla (thermoplastic), upcycled sofa leather, metal O-rings, metal buckle, metal rivets, acrylic paint, and faux fur pelt, 10" x 8" x 5". Artist's Facebook page It’s not about having fancy art supplies, it’s how much you transform the starting material and working with what you’ve got. Who you are as an artist, why do you create? I am an artist of many trades - a tailor, a sculptor a painter, a music maker…. I like to design and sew garments and costumes, especially for stage performance, I like to paint stuff and draw and sketch, I also write a ton of poetry and music. That’s actually my main interest, and it inspires all of my other creative works. So sometimes I will write a poem, and the poem will become a song, maybe the song inspires a garment, then the garment inspires a performance, and who knows, that might become a music video. I have a solo act called a Stray Catalyst - I would call it a Gesamt Kunstwerk, a German phrase meaning an “all together work”. Basically that means the artist takes complete control of the entire creative process. What inspired this particular piece? Just because I’m in charge doesn’t mean a project can’t be a collaborative process. So in the case of my recent art piece, A Pinion Queen, I collaborated with creative partner Maximos Koukos who wrote a song with that same title, Pinion Queen. He envisioned a music video that featured a figure with massive black wings looming over him at the piano. So he asked me to build him a giant pair of moving wings. What draws you to the materials you used? These wings are made mostly of foam. I did not want to use any real feathers because I did not want any birds to be harmed for the sake of art. So I shaped each of these foam feathers by hand. A skeleton is made with a combo of PVC and pegs pipe. Did you face any challenges or overcome any issues while creating this artwork? The skeletal structure was a major challenge in the design, finding a material that was rigid enough to support the wings but flexible enough to be realistic. Also it had to be lightweight and actually wearable. This is not a display piece, it was meant to be worn by a moving person. One more serious consideration was portability, we had to be able to break it down and transport it. You’re probably wondering, where is this music video?? Well, the pandemic hit, we lost our main sources of income, then a bunch of other stuff happened, and the music video is not happening. What drew you to being part of this competition? When Max and his wife moved out of town I asked if he wanted to take the wings with him and he said they would basically just be sitting around in storage, so I jokingly said I would have them display in an art gallery and auction them off for a million bucks! That’s how they ended up here. I just couldn’t stand the thought of something so beautiful being hidden away from public view. It’s something that we created. It’s art that was brought into existence by music and inspiration. Whether or not the music video becomes a reality it will always live in our minds. It cannot be uncreated. |
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$75Min Bid
$225Buy Now
| California Chopines, 2020. Leather with leather inlay, cork, paint and rubber sole, 8" x 8" x 10.5". Artist's website Artist's Instagram page Making of the artwork Short bio Danielle Giudici Wallis is an artist and shoemaker. She received her BA from Antioch College in Yellow Springs, Ohio and her MFA from Stanford University. Her work has been exhibited widely in the San Francisco Bay Area and beyond. She currently helms GIUDICI Handcrafted, making bespoke footwear for individual clients using traditional materials and methods. Who you are as an artist, why do you create? I was trained as a visual artist with a focus on sculpture and have worked with a variety of materials. In 2018, I decided to follow a longtime desire and learn shoemaking. I find it satisfying to make something both beautiful and functional. What inspired this particular piece? I’ve long been fascinated by Italian chopines, which reached the height of their popularity in early 16th century Venice. On a practical level, they elevated the wearer and protected the foot and clothing from wet and muddy streets, but they were also a symbol. Despite the fact that chopines were worn both by courtesans and patrician women (which has been a cause of some historical confusion), it is thought that the height of the footwear coincided with the level of nobility. Eventually, Venetian laws were passed that limited the height. As a relatively recent transplant to Southern Californian, I’ve often marvelled at the complex structures that make up our freeways. California Chopines are a meditation on these structures— how they dissect the landscape and what impact they have on both the ecology and economics around them. What drew you to being part of this competition? This opportunity allowed me to make a shoe that functions more as an artwork, with less concern for practical considerations… a return to sculpture. |
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$1,800Min Bid
$5,400Buy Now