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Lucaz neckwear
Imitation leather
Photographer: Paul Bevan
Make-up and Hair : Luka Watabe
Model: Suzanne Smethurst -
Lucaz neckwear
Imitation leather
Photographer: Paul Bevan
Make-up and Hair : Luka Watabe
Model: Suzanne Smethurst -
Lucaz neckwear
Imitation leather
Photographer: Paul Bevan
Make-up and Hair : Luka Watabe
Model: Suzanne Smethurst -
Lucaz neckwear
Imitation leather
Photographer: Paul Bevan
Make-up and Hair : Luka Watabe
Model: Suzanne Smethurst -
Lucaz neckwear
Imitation leather
Photographer: Paul Bevan
Make-up and Hair : Luka Watabe
Model: Suzanne Smethurst -
Laser cut cotton shape with sketch of incomplete lace work
Pen on paper -
Sketch in the gallery
from Rembrandt’s painting ‘Portrait of Phillips Lucasz’ 1635
Charcoal on paper -
Sketch Detail
Charcoal on paper -
Sketch Detail
Charcoal on paper -
Lucaz neckwear - Detail
Laser cut coated Tyvek
Designer: Natalie Brown
Photographer: Simon Clemenger
Make-up Artist: Sital Patel
Model: Tess Dimos, MOT Models -
Lucaz neckwear - Detail
Laser cut denim
Designer: Natalie Brown
Photographer: Simon Clemenger
Make-up Artist: Sital Patel
Model: Tess Dimos, MOT Models -
‘Portrait of Philips Lucasz’ Rembrandt Oil on oak © The National Gallery, London
Link to gallery
Inspiration.
Agnes Treplin BODY and SOUL
The painting Dead Christ Mourned by Two Angels (1617-18) by Guercino represents the starting point for my investigation into the phenomenon or essence called ‘soul’ and, as in this case, the absence of it. My interest is to find a way to manifest and express in a three-dimensional form motifs and ideas that are not physical.
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Response.
Inspiration.
Simon Thorogood Coruscation
My contribution to Flight: Drawing Interpretations owes its origins to happenstance and particular circumstances that shaped a design story. Flight, aircraft and a notion of travel have long been a prevailing feature in my work.
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Response.
Inspiration.
Carolina Rieckhof Samson’s fears
In focussing on Samson and Delilah (c. 1609-1610) by Rubens, I was initially interested in representing Delilah’s thoughts, but while researching on Samson and Delilah’s story, I found inspiration in the psychological interpretations of this painting, which rather point to Samson fears.
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Response.
Inspiration.
Yuliya Krylova Leda’s Womb
Yuliya Krilova’s work explores myths, the transition from Paganism to Christianity, poetry (Hilda Doolittle, William Yeats), feminist art, science, psychology, and concentrates on the theme of the phallic mother.
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Response.
Inspiration.
Andrew Kenny Ode to Colin Wiggins
The National Gallery was founded ‘to give the people an ennobling enjoyment’ (Parliamentary Commission, 1857), and this democratic approach to high-art is what I intend to explore within my contribution to Flight: Drawing Interpretations. My aim is to find out how people today gain this ‘ennobling enjoyment’ and, in particular, how this relates to the specialism of Textiles for Fashion.
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Response.
Inspiration.
Charlotte Hodes Apparition, a series of papercuts
I have approached the project Flight: Drawing Interpretations as a conversation with selected paintings in the National Gallery in order to address some of the themes that continue to preoccupy me in my fine art practice.
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Response.
Inspiration.
Caroline Collinge Unfolding the box
I have been researching A Peepshow with Views of the Interior of a Dutch House (c. 1655-60) by Samuel van Hoogstraten: a Baroque perspective box that uses multiple-perspective to create the sensation of flight through the optical perception of movement.
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Response.
Inspiration.
Xenia Capacete Caballero Weaving Nests. Tracing the Invisible
Xenia Capacete Caballero explores movement and location through various techniques as drawing, painting, photography and textiles. Her artwork, titled Weaving Nests. Tracing the Invisible, takes the form of maps and patterns that let unexpected narratives emerge.
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Response.
Inspiration.
Dr. Jessica Bugg Drawing with the body and cloth
My work for Flight: Drawing Interpretations seeks to extend design methods for clothing in contemporary dance. Costume design, and specifically costume design for contemporary dance, tends to be applied to a specific choreography as opposed to being central to the development of the performance and communication itself.
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Response.
Inspiration.
Natalie Brown Stitch in the Air
I intend to investigate the representation of Punto in Aria (‘stitch in the air’) and the Seventeenth century Reticella needle lace work. The intricate, handmade needle lace work uses stitch alone to construct a fabric surface worn around the neck. This neckwear came to symbolise high fashion during the second half of the Sixteenth and early Seventeenth centuries.
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Response.
Inspiration.
Paul Bevan (Up) In the Air
For (Up) In the Air I have drawn on for reference to the painting An Experiment on a Bird in the Air Pump (1768), by Joseph Wright 'of Derby'. In this work, which represents a bird chosen as the victim of an experiment as the air is sucked away by a pump, there are significant instances of flight, not least the very defiance of it.
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Response.