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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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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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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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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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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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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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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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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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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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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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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Credits & Acknowledgements

 

Flight: Drawing Interpretations

Conceived and led by:

Charlotte Hodes, Professor in Fine Art, London College of Fashion, University of the Arts.

 

Curators: 

Dr. Flavia Loscialpo

Ben Whyman

Fiona McKay

 

Project Administrator: 

Luella Allen

 

Design & Art Direction:

She Was Only

 

Paper & Print:

GFSmith Zen

FEBurman

 

Photography: 

Paul Bevan

Daniel Caulfield-Sriklad

 

Participants:

Paul Bevan

Natalie Brown

Dr. Jessica Bugg

Xenia Capacete Caballero

Caroline Collinge

Charlotte Hodes

Andrew Kenny

Yuliya Krylova

Carolina Rieckhof

Simon Thorogood

Agnes Treplin

 

Acknowledgements

Judith Clark, Exhibition-maker and Professor of Fashion and Museology, London College of Fashion, University of the Arts London.

Colin Wiggins, Special Projects Curator, The National Gallery

Gill Hart, Head of Adult Learning, Education Department, The National Gallery

Lee Riley, Business Development Manager Education Department, The National Gallery

 

With special thanks to Southampton Solent University.

 

Cover Image

Natalie Brown

‘Lucasz neckwear’

Imitation leather

Photographer: Paul Bevan