INSPIRING

I love you more than my own skin. (Frida Kahlo)

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This is a list of all my inspirations at a given point through the conception, making and realisation of Dar À Luz.

Pure Human, by Tina Gorjanc, as well as her other projects.

Pure Human Tina Gorjanc

"The Pure Human project was designed as a critical design project that aims to address shortcomings concerning the protection of biological information and move the debate forward using current legal structure.

Furthermore, the project explores the ability of the technology to shift the perception of the production system for luxury goods as we know it and project its implementation in our current commercial system. The final outcome consists of a range of conceptual commercial leather products cultivated from extracted human biological material."

Swalloable Perfurme, by Lucy McRae, as well as her other projects.

Swalloable Perfume by Lucy McRae

"What happens if we could eat technology? Does the body become the technology?"

"Body as Atomiser – This is a story where technology is the size of a blood cell and our skin is programmed to emit a biologically enhanced fragrance. Swallowable Parfum was developed alongside synthetic biologist, Sharef Mansy, where the body is turned into an atomizer and the skin sweats cosmetics.

Part of the Swallowable Parfum project was a performance that used the gallery as a laboratory and place to prototype scientific “What if’s”. Immersive experiences, like these engage the public and provide a platform to explore the emotional impact technologies have and how scientific breakthroughs are slowly transforming the body."

Morphe, by Lucy McRae.

Liquified, by Bart Hess, as well as his other projects.

Liquified by Bart Hess

"Hess is renowned for his fascination with reinventing the depiction of the body through the veil of technological advancement. This fascination took shape in his research series named Liquified. The material research emerged partly after a desire to use the Liquify filter in Photoshop, where the body appears to melt into a physical reality.

Hess developed a wide range of slime-like substances, varying in color and thickness. The materials were draped on a model creating semitransparent blobs and draperies that blur the line between material and skin. Hess captured his new, liquid body in a series of images and performances which got noticed by photographer Nick Knight who shot the material for the album cover of Lady Gaga’s Born This Way."

Between the Earth and the Audience, by Moon Ribas

"Moon Ribas, a cyborg artist from Barcelona, creates works that meld artistic innovation and technological revolution. Initially drawn by a desire to feel movement in different ways during her university choreography studies, she has long sought to challenge the current confines of human perception as well as present understandings of our own senses."

Internal Collection, by Amy Karle

Amy Karle

"Switching up conventions about the body and beauty, this series of garments based on anatomy shows representations of internal systems in wearable form. Merging fashion, biology and technology, artist and designer Amy Karle created these wearable art garments inspired by the human nervous system, lung, and ligaments. Each piece is created in a different method incorporating reality capture, 3D scans of the body, anatomical style drawings into digital designs (CAD), and laser cut pattern pieces which are then hand and machine sewn into the final garment."

Inspiration mainly on the methodology of design, coming from a 3D scan of the internal systems of the body.

SINÊAD O' DWYER

She mixes silicone, satin and silk and creates "sculptural clothes for women of all shapes and sizes" according to AnOther Magazine

Sinéad O’Dwyer Spring/Summer 2020Photography by Ottilie Landmark

She also designed the costume for Grace B. Nichol's piece SLIP MOULD SLIPPERY

Encased, by Wei Li

P9 Artist Profile: Wei Li from Charlie Nordstrom on Vimeo.

Again in her design process Wei Li used 3D Scanning of the body and develops that into shapes. Her applications of those shapes on product, however seems less interesting to me as her results were mainly hard objects, whereas my idea working with 3D body scans would be to play around with the digital shapes obtained and generate a body resembling object, that seems like skin and is thus flexible, even if it contains other characteristics not entirely human.

Sugababe, by Diemut Strebe

The idea of replicating the left year of Vicent Van Gogh's using cartilage engineered tissue, similarly to a previous inspiration I've presented on my Implications and Applications week documentation by Tina Gorjanc inspires me in a material-related way. It seems very interesting to me how the use of actual parts of a human's biology can develop onto a synthetically-made human-like material, that in general simmulates skin.

This is Grown, by Jen Keane

This is Grown

Artist's Page S+T+Arts Prize honourable mention Ars Electronica profile

Jen Keane manages to create a one piece weave on which bacteriqq she cultivated produce a celulosis that fills the weft. This project interests me in terms of material production and her methodologies when making the biomaterial serve her shape needs.

BioLogic

Biologic from Tangible Media Group on Vimeo.

Making of Biologic from Tangible Media Group on Vimeo.

BioLogic, by Tangible Media Group (a project that started at MIT Media Lab) inspires me in terms of the outcome generated on the clothing being the movement of the "pores" in it.

Fading Dress, by Greta Dalessandro

What mainly interests me in Greta Dalessandro's work is the mix of materials with which she made her Fading Dress.

Coral Love Story, by Kasia Molga

Coral Love Story | Chapter #1: Getting Acquainted from Kasia Molga on Vimeo.

This project is mostly inspiring to me as it has also the effect of movement as an outcome to certain inputs.

See Yourself, by Madeline Schwartzman

See Yourself covers

Both the publications titled See Yourslef by Madeline Schwartzman are very inspiring to me in ways that they contain material of artist's experimentations with the theme of the human body.

The links for buying them both are: See yourself Sensing and See Yourself X Human Futures Expanded

Computer 1.0, by Victoria Manganiello

I love how Victoria Manganiello embeded the air passing through the tubes with air and how the whole setup looks.

Mushtari, by Neri Oxman

MUSHTARI from Mediated Matter Group on Vimeo.

Mushtari

What inspires me on this peace is how the channels of the boody are displayed in a very body-like gathering.

Structural Skin, by Jorge Penadés in Oficina Penadés

Structural Skin

This is a gre4at reference of material to used for the hard bit of my skin.

Cuerpo, by Maria Castellanos

Cuerpo from maria castellanos on Vimeo.

The Cyborg Genesis, by Maria Castellanos

The Cyborg Genesis from maria castellanos on Vimeo.

Neri Oxman's TED Talk

Neri Oxman's Death Masks with Pigment-producing Microorganisms

Victoria Geaney's research on Bioluminscent Bacteria

Lo Lamento side Bioluminescent Installation_Hi_Res (1) from Victoria on Vimeo.

Living Pixels, by Charlotte Furet

Charlote Furet's Chamaleon

Dr. Simon Park's research on Bioluminescent Bacteria

Exploring the Invisible, by Anne Brodie and Dr. Simon Park

Blue Teacup

Xiamyra Daal's research on Glow in the Dark Bacteria for WAAG

gidbxd

Vals, by Ulises Merida

Vals

Grow your own couture, by Piero D'Angelo

pierodangelo

USEFUL SOURCES

Exhibitions:

"La Fabrique du Vivant aims to showcase artists that question the links between the living and the artificial, as well as the processes of artificial recreation of life; the manipulation of chemical procedures on living matter; self-generating works with ever-changing forms; hybrid works of organic matter and industrial material, or the hybridisation of human and plant cells."

The scope of the exhibition as presented by Clotmag seems very parallel to my idea with my project, especially when it comes to creating a parallel between the living and the artificial through use of materials developed from one using techniques fitting in the other.

Material Libraries:

REFLECTION ON INSPIRATIONS

When reflecting upon what projects I had listed as my inspirations and why I was drawn to them I was able to see a clearer thread to my process that would gather together all the loose points I found in my inspirations and apply that to the techniques necessary for me to develop my project. It also helped me have a clearer mind of what exactly I wanted my "Second Skin" to behave like and based on what that behaviour would be generated, a definition that I lacked when presenting my idea during the Implications and Applications week, which was my biggest issue as very well pointed by Oscar, Anastasia and Cecilia.

Based on this reflection I was able to define what specific methodologies I wanted to use from the ones I could in my project, as well as sketching a first course of actions needed to achieve my outcome.

DEFINITION OF "INPUT" AND "OUTPUT"

Also as pleaded to me by Oscar Tomico, I have defined exactly what type of input I would like to generate the behaviour of my second skin and what type of output that behaviour would consist of:

My second skin will react upon touched, either via external audience members or via the performer herself. That reaction will be movement-based, and this movement is of the Bacterial liquid indide the Bioflaskin capsules.

FP Slide 3

Inspirational Films for Dar À Luz from Gabriela Lotaif on Vimeo.