Amelia’s Magazine | Illustrator Interview: Anka Dabrowska

cheap medications photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe house, prescription once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of A Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by the V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard’
Watch the trailer here: the_concise_dictionary_of_dress_trailer

Trailer: The Concise Dictionary of a Dress
sales photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress
approved photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress
abortion photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, patient once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

viagra photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18750″ />

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress

Illustration by Emma Rockett, viagra dosage from her graduate work

So on Sunday it was down to the beautifully named Anastasia Arden-Maccabee to open the Edinburgh College of Art show on Sunday. Her fresh colour palette of a variety of pastel colours brought welcome respite from a lot of monochrome collections at Graduate Fashion Week.

Models were draped in lightweight fabrics that skimmed the knee and gave shapely silhouettes. Intricate flaps and folds had created the illusion of origami.

Making more literal use of Origami techniques was Eliza Borkowska, whose models appeared like futuristic sirens. Defining creases and thick lines shaped short dresses into artistic creations, of which Martin Margiela could even put his name to.

Charlotte Helyar’s collection was one of the most innovative and enjoyable of the week – enjoyable because it was hilarious to watch everybody scrabble for their 3D glasses as her first model appeared.

She’d made use of 3D print techniques, see – and applied them to floor-length dresses and floaty, flattering tops.


Illustration by Charlotte Helyar, from her graduate work

Emma Rockett’s collection screamed English heritage, another theme we’ve seen a lot of this week. Emma had executed it with panache. Traditional tailoring techniques were employed for candy-stripe blazers and high-waisted skirts, accessorised with up-side-down Boater hats and vibrant pink stockings.


Illustration by Emma Rockett, from her graduate work

It was Lisa Leissos who presented the most demure, sophisticated collection of this bunch. Her all-red collection of maxi-dresses and knitwear had real flare, and deeper reds were used for some classic knitwear. Sweeping lines gave the collection a very modern feel.


Illustration by Lisa Leissos, from her graduate work

A refreshing change came in the form of Alistair Nimmo’s mermaid-like goddesses. Flamenco-style fringing on skirt waists and hems created this desired effect, but a palette of nude, aqua and navy kept it contemporary and grown-up. Bustiers and jackets with circles at the chest also gave the collection a sexy edge.

Alexander White’s sweetheart necklines and tulip skirts also oozed sex appeal, while harsh tailored trouser suits contrasted this. Alexander has used an interesting technique for skirts, which had an anatomical look – God knows what it was, but I suspect it may have been organza or wool (!) weaved together in organic forms.

I also loved Isabel Wong’s layered organza jackets and dresses with olive green and nude colours; Louise Manson’s bohemian-inspired collection with synched waists, blouson sleeves and tiny knitted caps; and Louise Holgrove’s exaggerated paper-bag waists and sumptuous, heavy materials.

It was to Qi Zhang to close the show, and while I really liked her modernist collection, I didn’t think it was the best. Models wore lampshade-shaped helmets which were just about translucent enough for them to see, and her patchwork ensembles inspired by her mother made great use of a variety of materials.

While Edinburgh may not have had an outrageous show-stopper, it had technique, innovation and originality aplenty.

Splendid!

All photographs by Matt Bramford

sildenafil photo by Julian Abrams” width=”480″ height=”640″ class=”aligncenter size-full wp-image-18752″ />
Conformist

Blythe House, once a colossal bustling post office savings bank full of clerks’ activity now stands (almost) empty as a memorial to times past. Currently the home of not only the Victoria and Albert Archives but the British and Science Museum it double doors remain closed even to those who work in the museums. It takes a special request to get inside these vaults.

Luckily for a limited time (these doors swing back tight at the end of June) the V&A section has had its doors pushed slightly ajar by fashion curator Judith Clark and psychoanalyst Adam Philips. Together they have curated a delicate show examining ideas and understandings of dress alongside concepts of preservation in the midst of a vast archive that documents humanity’s progression.


Essential

Titled The Concise Dictionary of a Dress, the exhibition consists of 11 exhibits nestling amongst the archives, taking up position in the nooks and crannies of the ghostly building. The audience is shepherded silently though the sections of the building we were allowed to see, at times overwhelmed by the space and the delicate nature of the objects it protects. Eyes were all too often caught by the wondrous treasures awaiting selection by V&A curators, their position elevated from number x of an extensive hoard into object A indicative of the human condition.

11 exhibits accompanied by 11 pieces of card form a mini-lexicon of dress (a concise representation of ideas of what it is to ‘dress’). Is it as comfortable suggests … or do you find yourself agreeing with Loose? Or do the words fall flat?

Armoured
Comfortable
Conformist
Creased
Essential
Fashionable
Loose
Measured
Plain
Pretentious
Tight

Words and their meanings can provide a point of conflict: at times the words on the card and the image of dress produced a harmonious moment of why people chose particular items of dress. In this moment the dictionary of a dress becomes clear as the exhibition mirrors the dictionary’s almost circular nature of providing two meanings for one word.

The curators have invited the audience into a hidden world; the vast depths of the museum. The audiences’ eye drawn to objects not in the exhibition but whose presence demands attention: Why is it there? Why did they choose this room or that cupboard? Can meanings be created between the juxtaposition of dress and the objects in the room?

A weekly definition taken from the website: MEASURED 1. Against chaos; a way of thinking about disarray; calculated excess. 2. The fitted as fitting. 3. Proportion as the mother of virtue. 4. The milder ecstasies of the considered. 5. Contained by the idea of containment.

The word and their phrases present one idea of what it is you are viewing, whilst the objects potentially visualise and neuter simultaneously them. The sentences add conflict as they embellish the meaning of the single word and the idea of why we dress, collect and preserve.

No word is mealy a word, it becomes heavy through each individual understanding of it’s context. Each interpretation of the exhibits arrived upon by our unique thought processes formed by our own experiences. It is an oddly lonely experience wandering though the locked archives looking at how meaning is embedded into objects. Can meanings be created from the idea that a function of the archive is personal, an act of preservation and eventually historical.

Creased the final exhibit presented a Junya Watanabe dress behind the bars of an old coal bunker open to the outside world. The end mimics the beginning (the first exhibit high on the roof stands a ghostly gown open to the elements, it’s resin skeleton delicate in the glare and heat of the sun) two decisions that scream against the museums usual desire to keep everything hidden, safe and in temperature controlled room to ensure the objects preservation.


Armoured

Seen against the sky scape of London, the resin dress showed just how delicate the human body, our sense of dress and concepts of who we are can be against the hard bustling ever moving city.

Take yourself on a guided walk through an unseen section of our national museums, question the ideas of preservation and the difference between the museum’s archive and your personal ‘hoard.’

Watch the trailer here: The Concise Dictionary of a Dress

Amelia’s Magazine came across Anka Dabrowska’s exquisite work whilst perusing Payne Shurvell’s Bright and Guilty Place Exhibition (see Amelia’s Magazine review here). Anka’s drawings result from frequent fact finding missions to Poland’s captial, sales Warsaw. These delicate graphite studies (complete with uncontrolled graffiti marks) of the city’s geographical elements draw attention to the multiple ways one’s presence can inhabit a city. Amelia’s Magazine interviewed Anka to discuss the relationship played out in her work between Warsaw and memory.

How does the idea of “disparity between one’s personal relationship to, generic and the collective memory, rx of a given place” feed into your practice?

My work is about my personal experience of a specific place but it’s not exclusive, it lends itself to collective memory of a given place. Autobiography is represented indirectly or in fragments. The audiences faced with my work bring to it their own experiences of the city, whether it is Hackney estates, kiosks or any other aspects of urban living. My projects are made with specific spaces in mind, the idea grows from the experience of the city and how people live and enjoy public/private spaces.

How does your depiction of Warsaw in the drawings, relate to your artistic practice involving ‘fact finding missions’.

My practice concerns merging ideas of memory and imagination in relation to my upbringing in Warsaw. Domestic and urban landscape is a key focus of my work. Warsaw is somewhere to which I return again and again for inspiration.

I left Warsaw age 13 and moved with my parents and sister to Doha, Qatar in Middle East. This was a huge culture shock for me! I went to international school there where I had to learn quickly how to speak English. I’ve always known that I wanted to make art, to be an artist. After completing my A levels in Doha I applied for scholarships in the UK. I received a scholarship from Oxfordshire School of Art. I therefore left home age 18 and moved to England by myself which yet again was another culture shock!

My practice is solely based on my early experience of growing up in Warsaw’s tower blocks. ‘Fact finding missions’ are about returning to my hometown in order to re-experience these places, document them as they are today and translate this experience into new work (ongoing project). There is an intrinsic connection between a work of art and the environment in which it was created. How I grew up has an enormous influence on the way that I make art now.

Drawing is the foundation of my practice. I see all of my work as drawing or as extension of drawing – whether it is drawing on paper, 3-D object or installation.

Why did you decide to document this relationship through pencil and paper?

My work evolves naturally where it takes me on a journey. I don’t plan my works/ what I am going to draw or what mediums I am going to use. It evolves through experimentation and constant making. It feels right when it’s right, you can’t force these thing. Ideas about making art usually come purely by chance. I am a person who always has to do something. If I cannot do anything, I’m in a very bad way. But really I’m always working on something. And I always want to work too.

What is the relation in the drawings between the graphite pencil and the marks of spray painted graffiti?

Graffiti becomes another beautiful mark-making tool, but it also relates to the urban environment of the city. There is a wonderful relationship between the fine and very controlled line of graphite pencil and almost ‘hard to control’ mark made using spray paint. Graffiti tags are signatures that re-mark the territories and add meanings to the city.

How did the 3D models develop from the illustrations??

Yet, again they just happened one day through experimentation. I see them as extension of my drawing/3-D drawing. I actively collect materials that inspire me but also materials that relate to urban environment. I incorporate my own photographs of Warsaw neighbourhoods to give the works an element of realism and use collage technique spontaneously to create these structures/3-D drawings. I use these various found materials for their textures and colours and see them as yet another mark-making tools. Fabricated from cheap, trashy materials that, like ready-mades, reveal the vestiges of their earlier use, in some places only loosely attached, in others taped together, these pieces are characterized by an extreme fragility.

In most of my works overlaps occur between drawing, sculpture, photography and installation-these are artworks composed of independent elements of information, which in the process of relating to each other generate new meanings.

Could you explain your description of the buildings in Warsaw as claustrophobic?

My experience of living in tower blocks have been claustrophobic due to small living spaces and large numbers of inhabitants. There was never enough space to play, to study, or to just be alone. Most of my 3-D structures correspond to the blocks of flats I was living in at the time.

Because I left Warsaw and moved to Middle East then England I have a constant feeling of being inside and outside, a native and a foreigner. I think it is this sense of in-between-ness, more than the experience of living in blocks of flats that shapes my art practice. The distance allows me to think dialectically about the beauty and tragedy of my surroundings.

What was your experience of studying at Northumbria University?

My two-year part-time MA in Fine Art course enabled me to have an uninterrupted period of focusing solely on my work, experimenting with drawing, sculpture, reading and researching. Unlike London-based MA courses, where groups are too large, my course of 12 people enabled intimate environment for critical discussion, which to me was most valid aspect of that time. However, being proper city girl, I always new deep in my heart that London was place for me! After my MA and one year working at the BALTIC Centre for Contemporary Art I moved here in 2004 and fell in love with the city. London for me feels like true home, more so than any other city I live in!

Which artists or illustrators inspire your work either now or at university?

I find my inspiration from cities, day to day observations of urban living (sitting in coffee shops, making notes in sketchbook, walking/cycling through city). I also find music, literature and film has more inspiration for my practice. I do however visit a lot of exhibitions, a recent show I found very refreshing, inspiring and playful was the Whitechapel Gallery show of Rachel Harrison ‘Conquest of the Useless’.

When did you first pick up a pencil?

Childhood, I always drew from as early as I remember…drawing is something I do all the time, it’s like another language, way of communicating, but it’s also our prime way of communicating, everyone can draw.

Have any writers inspired you on the subject of Memory?

Recent books that inspired me:

1. ‘Estates’, Lynsey Hanley
2. ‘Home’, Alison Blunt & Robyn Dowling
3. ‘Architecture of Happiness’, Alain de Botton
4. ‘Wanderlust- A History of Walking ’, Rebecca Solnit
5. ‘Geography of Home’, Akiko Busch

Where did the idea to draw on paper bags come from? How do you decide what to draw?

One day I picked up a paper bag on the street and scribbled something on it. I got really excited about this new ‘canvas’. It gave me something more than just blank paper to work. Paper bags with their endless forms, colours and textures provided and offered new meanings and possibilities. For me communism meets consumerism in these quirky drawings.

What were the ideas behind the Block House Exhibition?

‘Blockhouse’ exhibition was conceived by Jealous Gallery, Crouch End, London. They wanted to showcase mine and Jeni Snell’s work in a small environment. Therefore my installation become almost like one big sculpture made up of more than 40 3-D structures depicting Warsaw’s kiosks and tower blocks. A cityscape.

A Bright and Guilty Place continues until 24th July 2010.

Categories ,A bright and guilty place, ,Anka Dabrowska, ,Baltic, ,drawing, ,graffiti, ,illustration, ,Northumbria, ,Payne Shurvell, ,Warsaw

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Amelia’s Magazine | Art Exhibition: A Bright and Guilty Place


What interested you about Womenswear and subsequently the Womenswear MA at Central Saint Martins?

A desire to design clothing for myself I guess is what first drew me to Womenswear. I also love the drama and the show of Womenswear that you don’t necessarily get with Menswear. I studied the BA Womenswear at CSM and subsequently went on to do this at MA.

What Projects are currently in the pipeline?

I have just finished working on and promoting my Weekday collection and am now planning a move to New York, ask where I have an exciting new project to work on.

I’ve seen online you’re currently working with Weekday… the collection looks fantastic, information pills how’s that collaboration going?

The collaboration has actually finished now and the designs (mostly t-shirts) are available to buy in the Weekday stores which are located in Sweden, health Germany and Denmark. The collaboration was a wonderful project for me to work on and I am so pleased that my designs are now available to a wider audience.

What is your aesthetic and how did it develop?

I guess that you could say its minimalist/purist with a fun twist. An element of fun has always been essential in my design work, I don’t think that fashion should take itself too seriously! The minimalist/purist element is something that I worked on throughout the MA, as I already said I wanted my collection to be fun but I also wanted it to be taken seriously and be wearable and the minimal aesthetic seemed to offer up the perfect balance.

What is the Colin Barnes Illustration Award (congratulations!) and how do you become eligible?

The Colin Barnes Illustration Award is something that I was awarded whilst studying on the BA. It is an award that is given to St Martin’s students studying on the BA Fashion design course for their illustration. I was so surprised to receive it as I had always struggled with illustration until Howard Tangye made me realise that the way I draw doesn’t have to be the same way that everyone else draws! I owe him a lot for that!

What role does illustration play in your design process?

It played a huge role in my MA collection as we worked tirelessly to make sure that the actual clothes were as close to my original drawings as possible, the weird proportions, placement of the print and particularly the width and angle of the shoulder. I am happy to say that what went down the catwalk was exactly the same as my drawings!

You’ve mentioned in other interviews an interest in basic shapes – do these motifs often appear in your illustrations?

It does subconsciously I think, my drawings are often quite angular and square like! And going back to what I said about my aesthetic I am a big fan of pure, minimalist and clean things and what is more pure that a basic circle, square or triangle.

Do you draw outside of fashion design?

Not really as all my ladies (and they are always ladies) of course have to have great outfits on so I end up designing without even realising it. I don’t really have much time to do it anymore either which is a shame.

Who would you say informs your work, do you have a customer in mind during the design process?

I never have a specific customer. I collect images and build up a mood in that way. I am influenced by all sorts of things from all different sources. I see it as a bit like putting a jigsaw puzzle together.

Could you describe your design process?

Backwards and Forwards, up and down, moments of genius and moments of disaster. Each collection is different and so forms its own process. I don’t have any hard and fast rules.

How did your MA collection develop – from where did you inspiration come from?

I am a bit of a collector, especially when it comes to images and so the collection draws inspiration from many different reference points. The face, eyelashes etc. came from the work of François and Jean Robert, the hands were from some drawings that I found by Saul Steinberg and the shapes were from some of Jean Paul Goude’s work with Grace Jones particularly her ‘Slave To The Rhythm’ video. As I already mentioned, once I had the designs they weren’t changed at all and the development was all in making sure the clothes were just like the drawings.

Do you ever use re-cycled or up-cycled fabric in your designs?

I am ashamed to say that I didn’t in my MA, however I did explore using existing items of clothing etc a lot in my BA and it is definitely something that I would like to re visit in the future.

What fabrics do you enjoy working with?

I love wool jersey; in fact my whole collection was made out of it. I really like jersey as a whole, mainly because it allows you to do things without darts and seams, which allows the design to appear even more minimalist and clean.

Who are Francois and Jean Robert and what is the book Reggi – Secolo?

Francois and Jean Robert are Graphic designers/photographers who did the most fantastic book called Face to Face in which they photographed inanimate objects that appear to have or make different faces. It really is worth a look, for the concept but also for the clean beautiful look of the book itself.

As for Reggi-Secolo, this is a little crazy book of totally insane and genius bra’s, it really is quite amazing.

Who are your favourite designers and why?

I have long been a Martin Margiela fan; he was one of the first designers that really sparked my interest in fashion. I also love Yves Saint Laurent when Yves Saint Laurent was at the helm and Elsa Schiaparelli and Coco Chanel and of course Moschino when Franco Moschino was there. I also love Hermes for the fantastic quality and unwavering levels of good taste!

What do you think of twitter and the ever developing blogging network as a method of self promotion? Do you use either medium?

I think that Twitter and blogging are great if you know how to make the most of them and do them well, unfortunately I don’t and so I will leave it to the experts.

Could you describe your interest in ‘bad taste’ in our current cycle of fast fashion, and endless borrowing from the past or more accurately returning to what were considered ‘fashion mistakes’ and re-inventing them do you think what was consider bad taste is now considered ‘good’ taste. Where is the line for you?

Good and bad taste for me is just a fascinating thing to play with. It is so easy to get it wrong and so hard to get it right and it can be the minutest detail that makes all the difference. I really couldn’t say where my line is, I think it varies depending on the object/image/garment etc that you are considering.

What was your experience of work experience, what do you recommend about the experience and what did you take away from it?

Work experience for me was essential and it was also the time that I really developed into a designer. It makes it all more real, you realise that these things that you are designing do actually end up being worn! I would fully recommend it to anyone thinking about doing it.

Will you be showing at London Fashion Week this Autumn?

I am afraid not, as much as I would love to I feel that I still need to get a bit more experience before I have my own label and so I am going to work in New York for a while starting in June.

Illustration by Anka Dabrowska

Maps represent Humanities desire to reduce the world into manageable, troche understandable and most importantly dividable segments. From documenting the ‘progress’ of colonisation to identifying political and cultural divisions, remedy maps can be used to simplify human life into pinpointable ideologies. What are in reality, advice line drawings, maps have encouraged nationalism and a sense of entitlement to place, that has only served to drive apart different faiths and cultures.

Hope and Glory by Derek Ogbourne

Jorge Luis Borges tackled Humanities love for ordered knowledge -through his pariodical encyclopedia- using self devised taxonomical systems; an idea transforming Foucault’s idea of the relationship between knowledge and power used Borges to introduce The Order of Things: An Archaeology of the Human Sciences. Writers are not the only critics of unquestionable authority, artists have long been needles in the side of those that weld power, using multiple practices to challenge authority, its relationship to history and those who have been left out.

Payne Shurvell space used to be an old light factory…

Payne Shurvell’s inaugural exhibition “A Bright and Guilty Place” introduces thirteen artists whose work tackles the action of mapping and ideas of place related to social geography. The work displayed is an indication of each artist’s practice. The show’s success lies in the curators choice of artwork that genuinely reflects the theme, rather than selecting artists and forcing them to fit, as can all too often happen in group shows.

The artists touch upon ideas of psychogeography, and the aforementioned human drive to find a place to lay claim too; whether that be a house or an entire country there is a deep attachment to the idea of owning land. As both religion and art have discovered questions on existence are perennial and continually open to interpretation. Lucy Wood demonstrates the paths of Mexicans who have attempted to cross the border and in worse cases died trying. document the trails of immigration, notably failed attempts or the endless drift of those people designated as unwanted.

Maps can also document the places the headquarters of finance choose to inhabit, and subsequently be subverted by Dan Hays replicating page 62 from London’s A-Z visualising instead, the strangulating hold commerce has over London’s centre through it’s Canary Wharf headquarters.

Frank Selby tackles the reoccurring problem of a world submerged within miscommunication, where the break down in an ability to convey ideas all too often ends in violence in his drawings. Payne Shurvell showcases “Stop the Next Next War War” from this series, a reflection on the variety of ways there is to interpret a single moment depending on individual and collective previous experiences.

Andrew Curtis plays with ideas that British suburbia was created through our colonialist past in his eary prints of houses dominated by the Monkey Puzzle Tree. An image especially poignant in the wake of the 2008 financial and housing bubble crash. For a short time the papers documented the lives of people who now found themselves ‘lost’ without a home call their own.

Ian Whittlesea continues to explore the connection between place and personality print of the studios Jasper Johns inhabited during his time in New York – What makes a studio a studio? Is the studio made by the standing of the artist who inhabits that space?

Anka Dabrowska documents Polish shop fronts through exquisite 3D models and her wonderful drawings. They are memorials to individual and collective memory, the artist’s memory vs everyone else’s – the work transports the viewer into her idea of post war Poland. The mixture of Capitalist growth removing any reminder from the Communist era; the images reflect Eastern Europe Aesthetics nestling amongst the identical brands the ‘West’ is so fond of. These careful constructs forcefully encourage the viewer to reconsider their idea of Poland’s Social and Physical Geography.

Adian McNeill’s photographs opaquely explore a subject, that all too often stumped Britain’s political leaders throughout the general election as they stumbled towards the populist vote; immigration. McNeil’s images document the arrival of non native plants impact upon the ecosystem of their new destination, these stark black and white images make apparent how immigration is all too often portrayed as an underlying threat in the media.

This is a fascinating exhibition documenting the position of the artist in tackling ideas of history and our general knowledge of world events. In the endless news reel of the 24hr cycle it is a relief to stand within the confines of a gallery and contemplate the ways in which we view the world. Amelia’s Magazine throughly recommends a visit to Hewitt Street before July 24th.

Categories ,Aidan McNeill, ,Andrew Curtis, ,Anka Dabrowska, ,Dan Hays, ,Derek Ogbourne, ,Dermot O’Brien, ,East London, ,Frank Selby, ,Ian Whittlesea, ,Jeni Snell, ,LEO, ,Luch Wood, ,Mary Yacoob, ,Payne Shurvell, ,Wrik Mead

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Amelia’s Magazine | Art Exhibition: A Bright and Guilty Place

Illustration by Anka Dabrowska

Maps represent Humanities desire to reduce the world into manageable, understandable and most importantly dividable segments. From documenting the ‘progress’ of colonisation to identifying political and cultural divisions, maps can be used to simplify human life into pinpointable ideologies. What are in reality, line drawings, maps have encouraged nationalism and a sense of entitlement to place, that has only served to drive apart different faiths and cultures.

Hope and Glory by Derek Ogbourne

Jorge Luis Borges tackled Humanities love for ordered knowledge -through his pariodical encyclopedia- using self devised taxonomical systems; an idea transforming Foucault’s idea of the relationship between knowledge and power used Borges to introduce The Order of Things: An Archaeology of the Human Sciences. Writers are not the only critics of unquestionable authority, artists have long been needles in the side of those that weld power, using multiple practices to challenge authority, its relationship to history and those who have been left out.

Payne Shurvell space used to be an old light factory…

Payne Shurvell’s inaugural exhibition “A Bright and Guilty Place” introduces thirteen artists whose work tackles the action of mapping and ideas of place related to social geography. The work displayed is an indication of each artist’s practice. The show’s success lies in the curators choice of artwork that genuinely reflects the theme, rather than selecting artists and forcing them to fit, as can all too often happen in group shows.

The artists touch upon ideas of psychogeography, and the aforementioned human drive to find a place to lay claim too; whether that be a house or an entire country there is a deep attachment to the idea of owning land. As both religion and art have discovered questions on existence are perennial and continually open to interpretation. Lucy Wood demonstrates the paths of Mexicans who have attempted to cross the border and in worse cases died trying. document the trails of immigration, notably failed attempts or the endless drift of those people designated as unwanted.

Maps can also document the places the headquarters of finance choose to inhabit, and subsequently be subverted by Dan Hays replicating page 62 from London’s A-Z visualising instead, the strangulating hold commerce has over London’s centre through it’s Canary Wharf headquarters.

Frank Selby tackles the reoccurring problem of a world submerged within miscommunication, where the break down in an ability to convey ideas all too often ends in violence in his drawings. Payne Shurvell showcases “Stop the Next Next War War” from this series, a reflection on the variety of ways there is to interpret a single moment depending on individual and collective previous experiences.

Andrew Curtis plays with ideas that British suburbia was created through our colonialist past in his eary prints of houses dominated by the Monkey Puzzle Tree. An image especially poignant in the wake of the 2008 financial and housing bubble crash. For a short time the papers documented the lives of people who now found themselves ‘lost’ without a home call their own.

Ian Whittlesea continues to explore the connection between place and personality print of the studios Jasper Johns inhabited during his time in New York – What makes a studio a studio? Is the studio made by the standing of the artist who inhabits that space?

Anka Dabrowska documents Polish shop fronts through exquisite 3D models and her wonderful drawings. They are memorials to individual and collective memory, the artist’s memory vs everyone else’s – the work transports the viewer into her idea of post war Poland. The mixture of Capitalist growth removing any reminder from the Communist era; the images reflect Eastern Europe Aesthetics nestling amongst the identical brands the ‘West’ is so fond of. These careful constructs forcefully encourage the viewer to reconsider their idea of Poland’s Social and Physical Geography.

Adian McNeill’s photographs opaquely explore a subject, that all too often stumped Britain’s political leaders throughout the general election as they stumbled towards the populist vote; immigration. McNeil’s images document the arrival of non native plants impact upon the ecosystem of their new destination, these stark black and white images make apparent how immigration is all too often portrayed as an underlying threat in the media.

This is a fascinating exhibition documenting the position of the artist in tackling ideas of history and our general knowledge of world events. In the endless news reel of the 24hr cycle it is a relief to stand within the confines of a gallery and contemplate the ways in which we view the world. Amelia’s Magazine throughly recommends a visit to Hewitt Street before July 24th.

Categories ,Aidan McNeill, ,Andrew Curtis, ,Anka Dabrowska, ,Dan Hays, ,Derek Ogbourne, ,Dermot O’Brien, ,East London, ,Frank Selby, ,Ian Whittlesea, ,Jeni Snell, ,LEO, ,Luch Wood, ,Mary Yacoob, ,Payne Shurvell, ,Wrik Mead

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