Katherine Soucie Exploration in textiles, print media and digital technology

In February I set forth and began the arduous task of printing and embroidering several layers of waste hosiery that would soon become known as my grad project. Before I explain any further,  I must state that this particular piece is an extension of  and response to a textile process that has influenced my work for the past several years. I felt the need create a body of work that would address and create a conversation around the issues of waste and mass production in a manner that would allow people to question that state that we are currently living in.  

I arrived at the concept of producing a hankerchief for my grad project out of my experience in working in the clothing and textile industry.  I developed a textile and clothing line in 2003 out of waste nylon hosiery that I dye, print that is then reconstructed into a new textile before it is produced into a clothing.( www.sanssoucie.ca)  As an extension to this,  I came to the conclusion that as a final statement I needed produce new work that expresses my concern for technology and textiles and its relationship with the everyday.  

The basis of this piece is in direct response to industry waste, in particular to the textile industry, as well towards our societal reaction towards cleanliness, disposability/convenience, labour/mass production and our current obsession with sustainability. 

After spending approx. 200 hours embroidering and assembling the undyed and soiled fragments of hosiery,  the 6 ft.x 6 ft. structure titled ” God Bless You” is a blanket statement towards materials and technology within the 21st century and its connection to consumerism.

         With the arrival of any new subculture the first indication of its existence is through the clothes that they wear.  At times the exact message or symbolism that one is trying to portray may not be clear, however, clothing has long been embraced as one of the best ways to project one’s desired personal image to those around them. Clothing historically, was used namely as a form of symbolizing one’s ascribed status or social class. For centuries individuals and societies used textiles and other body adornment as a form of nonverbal communication to indicate occupation, rank, gender, etc.         Fashion consumption today has come to be a practice of purchasing and adorning oneself with garments that can be easily linked to aspects of our affluent modernized culture.

          In the 20^th century, we witnessed an increase in population, technological advances and the onset of mass production. These three components combined have led a civilization into a mislead society that exists upon a loss of identity and culture that refuses to respond to any internal experience. We have come to a point in history where we devalue anything that is real and choose not to investigate the truth.  The fact that society has come to accept this general attitude has caused much suffering and will continue to do so unless we confront the issues that continue to plague this train of thought.

         What influenced this latest series of work was a poem by the American poet Robert Frost. He wrote symbolic poetry to “arrive at certain truths about life” (Geddes p.46.) and the honesty and authenticity that he sought after is an integral aspect and driving force within my own practice. The symbolism I employ within my work is embedded subversively within the structural and visual details of the pieces forcing the viewer to investigate the work intimately. With clothing we as humans have this intimate relationship but we have become so far removed from this that we have to come to dress less out of our need for survival and individuality but out of vanity, status and access to materials. In Frost’s poem, ‘Desert Places’, he speaks of a loneliness and loss of identity in a society that has been flooded with change physically, mentally and spiritually. The forceful removal of ones’ identity has lead many into a mindset that is controlled yet consumed by ones’ personal isolation, depression being its direct symptom. If you look at the clothing worm today, it represents this state of mind and the lack of expression being communicated by our society today only continues to support this. This is not just appalling and frightening to accept as an artist but is something that I refuse to accept. 

         Haviing the experience of working in both the textile and fashion industry prior to furthering my studies in fine art, I have arrived at this discussion due to its significance in our society today and how it is a reflection of our emotional state. The struggle for identity in a world that prevents us from having one only contributes to a mentality that is as disposable as the clothing we wear.  

Check out this great new blog by ECU faculty member Jody Baker.  He recently included a write up on the P.OP.U.LATION installation. 

http://blogs.eciad.ca/seen/