The first ever graduation show for the MA in Design: Expanded Practice at Goldsmiths will be open to the public on 14-16 December 2018. As we approach the day of the exhibition opening, we’re giving you a preview of the diverse projects that will be on display. Today, we’re looking at the graduation project ofChang Wang, which looks into how we define what is “new” when it comes to fashion and our relationship with the clothes we already have:
“This project introduces the term ‘psychological obsolescence’ as a starting point, indicating that the feeling of ‘new’ can be driven by our ever-changing state of mind and fluid perception toward the same piece of clothing. In this light, our clothes may remain new when they stay alive in their connection with us, as they can keep updated along with the changes in ourselves.
‘Spirits in the Wardrobe’ thus indicate that our clothes are imbued with this energy and aliveness that signify a newness, which challenge the simplistic definition of being ‘new’, and shopping as the major way to acquire the ‘new’. The changing room onsite is a capsule showroom of the project. It can be a screening room, where visitors can watch and listen a mixed group of people getting dressed, with a ritualistic beauty they never recognised before. It is also a meditation room, where they can enjoy the quietness and have an inner conversation with the clothes they are just wearing. Ultimately, it is a room for transformative experiences, in which visitors can be inspired to capture and curate the poetry running through their clothes, and seek autonomy to create the newness with them.”
The first ever graduation show for the MA in Design: Expanded Practice at Goldsmiths will be open to the public on 14-16 December 2018. As we approach the day of the exhibition opening, we’re giving you a preview of the diverse projects that will be on display. Today, we’re looking at the graduation project ofKawisara Anansaringkarn, which aims to maintain the legacy of craft in the digital era by introducing imperfections to the 3D printing process:
“Realising the value of imperfection in the crafting process is an important area of craft production. The aim of making sincere products for craftsmen makes craft provide a beautiful rough hewn aesthetic, which is appreciated by others because of its character and individual value.
Although 3D clay printing has come to play an increasingly important role in craft, using it as a method of accurately materialising a digital model is not part of the craft process. This consideration has led to the exploration and examination of the imperfections in a 3D clay printing process. Attention has shifted from materialised work, which resembles its digital master, to awareness that the process of turning data into a physical form is never seamless. Variation is a common factor that occurs during the craft process. This project uses its own imperfections to inform the new instructions for the machine, at which point the variation becomes apparent. Within this process, variation creates outcomes that emphasise the value of individuality and identity that tend to be associated with the rough-hewn language of craft.”
The first ever graduation show for the MA in Design: Expanded Practice at Goldsmiths will be open to the public on 14-16 December 2018. As we approach the day of the exhibition opening, we’ll be giving you a preview of the diverse projects that will be on display. Today, we’re looking at the graduation projects of Lisa George and Thomas Goldstone.
Press and Industry Private View: 13 December 2018, 6 pm
Public opening: 14-16 December
Fifteen months is the time it takes for the earth to cycle once around the sun, and a little bit more. In this time, 101 humans from 28 different countries came together for the first iteration of the new MA Design: Expanded Practice, here at Goldsmiths University of London.
Being the first year of the course, we aimed to create a path for those who follow, in which processes are constantly evolving, traditions are shifting and influencing the trajectory of design.
Bringing post-disciplinary design to the forefront of academia, we have developed a conscious space around us, personally and publicly, that considers the environment, access and intersectional social contexts. We embody experiences, to strengthen how we design, communicate, participate, interact and innovate.
This exhibition presents work at the culmination of this period of study, acting as a crucial point that marks the start of the next chapter in our individual practices. Our multicultural community has encouraged the exchange of knowledge and skills, resulting in the redefinition of design practices, methods and language.