Form 2

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EXCERPT FORM

We're thinking about the idea of flux.

flux from a science perspective is the holy grail that you're trying to understand. we will so often try to understand the dynamic beauty of nature, which never stops. That's the element of time in the universe. But we boil it down into discrete units and say, okay, I looked at this system from this one time point, with these few parameters, and we're always trying to control things, and hold everything constant. we're simply incapable of even measuring so many things in a flux.

it feels like a never ending state of change, its very nature, it changes you, it changes your practice

the great question, as a maker of things in a world that has far too much material that we’ve made already in it, is why should we make more? the idea of flux is it implicates everything else but the thing itself. the idea that flux itself could be seen as context, and a way of enacting not only the process that it takes to get to something, but all the things around the object that lead up to and surround it. I think of the potential for process itself to generate meaning by seeing it as an observable entity, the solid formed in the negative space around a thing. Almost like a mold.

my own work is experiential. these things, which are behind the scenes are never really centered.

you're just scratching the surface of something that's in motion, but that you have to arrest it for a second to make it something we can all grasp, and the fact that we’d then have to let it go again, because it's still on its way somewhere else.

it's like an organic moving thing that comes together by virtue of life. It echoes throughout in concept. It's not just the physical material, but it's also how you choose to work again, with other people, with other ideas and expand those frameworks of understanding what science can be, what art can be, what storytelling through clothing might also be…

The story is that process of finding the right people, bringing everything together. That’s where the real journey is, where the real magic happens.

The end point is not actually the end point.

this collaborative story is the seedbed for which everything else occurs, and that context can be likened to a space. So, in fact, you're creating space. this conflation of context, space and story

to be able to pin down motion through textile that uses photogrammetry based on any data points one could choose to extract from the research, to generate shapes, printing material or whatever, I guess. Those are all just ways to harness this energy in motion, and try be able to understand it.

the physics of matter. It's like when you take it at a snapshot, and all those parts become somewhat irrelevant when removed from the whole. The whole picture is that dynamic state.

The whole picture embodying flux itself,

you embody an idea of yourself through fashion. And fashion itself involves flux through trends or whatever’s inherent in the industry or the nature of that field.

by acknowledging, recognizing there are different subsets of movement within larger things in motion, we can try to avoid getting stuck in a space of expected outcomes.

reaching into the unknown, with an optimist's mindset. I want to just study something and have it be a static object, so I can understand it from every angle. But the reality is that that conflicts with the very nature of why you're drawn to something.

The observer plays a role. So, even though you can talk about it from an exterior outside perspective, once your mind is locked in on that, you're actually now just as involved as any of the other parts.

the whole unhinging of things that are stable That it could not only be a catalyst, but can be a solvent and start to denature and dissolve Maybe we could even see flux as an agent.

Might just be all nonsense.