The objective of the environment that I was attempting to create was an atmosphere of fragility, interconnectivity, and co-dependency. The glass structure that was built to support the neons were simply made of glass tubes (with ends sealed), wire, and friction (or athlete’s) tape.
I tried to minimize the usage of friction tape, as I liked the look of wire holding together bare glass. It took me sometime to finalize on the method of tying the wire, but at the end I decided to make circular pattern that resembles a rose.
Portion of wire that is not part of the circular flower goes around the 2 glass tubes that it is holding together a few times, to ensure a tight grip, and then goes around the nearby glass tubes. After conjoining multiple glass tubes, the ends of wire comes back to the original flower that it sprung out from and goes around the circle few more times before they get cut into an appropriate length.
Wires connecting the glass tubes symbolizes deeply woven interconnectivity between members in a society, and fragility that is inherently part of the society’s structure. The addition of neon tubes to the structure further solidifies its symbolism. The glowing neon lights illuminate the surrounding empty glass tubes, and the different colors of lights coexist with pleasant harmony.
The music that Emily and I chose for the piece was Brain Damage by Pink Floyd. We started out planning for more of a classical ballet music, but then we turned to Philip Glass for a while, and then we settled on Pink Floyd.
Due to the subsequent changes to the music choice, my idea for the garment changed along the way as well to better suit the atmosphere of the music. At first I tried to use optical fibers, because I liked how it was giving the skirt some structure. At the time I had the optical fibers attached outside the skirt, holding upper parts of skirt up. Then I took it apart and switched to adding RGB pixels on the lower half of the skirt following the embroidery pattern.
Unfortunately we have had some troubles with the RGB lights on the day of performance, but I’ll most likely be keep working on the garment as well as the light structure on the stage since neither Emily nor I feel quite done with the project yet.
We’ve been talking about videographing it in a more sectioned and enclosed space, and having a more visible storyline. We are both excited to continue to work on the project, and there are a lot of additions and improvements to be made as we were both quite ambitious considering the amount of time we had to work with.