Topographical Complexities 2012
Powerhouse Museum- Craft Punk, August 2012
Neck Pods
Area of expertise:
Fashion design
Knitwear design
Contemporary design
Object design
Patternmaking and Drape
Swimwear design
Education:
Master of Design (Hon) by research, College of Fine Arts, UNSW, 2008
Graduate Certificate in Higher Education Teaching and Learning, UTS, 2001
Diploma of Marketing, SIT, 2001
Bachelor of Design (Fashion and Textiles), UTS, 1993
Exhibitions:
SOLO
2009 - (Re)Skin: contemporary knitting (UTS DAB LAB-research gallery) in conjunction with Sydney Design Week 09
2009 - Visible markings (Craft Victoria)
http://craft-victoria.blogspot.com.au/2009/07/introducing-alana-clifton-cunningham.html
2008 - Second skins: new knitting (Ivan Dougherty Gallery, Paddington)
2008 - Second skins: new knitting (Ivan Dougherty Gallery, Paddington)
GROUP
Forthcoming: 2013 - 20 year Retrospective Student design-Powerhouse Museum
2012: Seoul International Fashion Art Biennale (South Korea - Invited International Artist)
2012 - Red Objects: COFA, UNSW, Paddington
http://redobjects.unsw.edu.au
2011 - Sensorial Loop: 1st Tamworth Textile Triennial - on tour until 2013
2011 - Wangaratta Contemporary Textile Award
2010 - Seoul International Fashion Art Biennale (South Korea – Invited International Artist)
2008 - Momentum: Tamworth Textile Biennale
2012: Seoul International Fashion Art Biennale (South Korea - Invited International Artist)
2012 - Red Objects: COFA, UNSW, Paddington
http://redobjects.unsw.edu.au
2011 - Sensorial Loop: 1st Tamworth Textile Triennial - on tour until 2013
2011 - Wangaratta Contemporary Textile Award
2010 - Seoul International Fashion Art Biennale (South Korea – Invited International Artist)
2008 - Momentum: Tamworth Textile Biennale
2008 - Fragments: methodologies of making fashion (UTS DAB LAB-research gallery)-co exhibitor/author: Alison Gwilt (exhibition and DAB publication)
2006 - Blurring the boundaries (Fairfield City Museum and Gallery)
2006 - Valency, Kudos Gallery, UNSW
Exhibitions curated:
2012 - UTS Fashion and Textile India Tour Exhibition (co-curated with Cecilia Heffer)
2008 - Fragments: methodologies of making fashion (co-curated with Alison Gwilt)
http://sangamproject.net/uts-fashion-and-textile-india-tour-exhibition
2009 - Fashion Craft/Fashion Technology (curated student embroidery work on display)
2009 - Fashion Craft/Fashion Technology (curated student embroidery work on display)
Press and media:
(Scar)ves: textile art explores self-mutilation, Precinct Publication (2010)
Noi.se Magazine, Issue 25 (May 2010)
Oyster Magazine, Uprising issue (May 2008)
The Age (2009)
http://www.theage.com.au/lifestyle/fashion/a-finely-crafted-romance-20090702-d6lr.htmlCraft Victoria (2009)
Craft Victoria-CLOG (2009)
Craft Australia (2009)
The Australian (2008)
Aprons and Hammers-the work of Greenwood (2009)
UTS Precinct magazine (2009)
Concrete Playground (2009)
Renee-Marie (2009)
Previous work...
Second skin-muff and leg wrap, 2007.Previous knitted work that I have created, has focused on skin markings and identity. My particular interest is the traditional practice of body scarification, a tactile language inscribed onto the surface of the skin that is often misunderstood due to popular Western misconceptions and negative connotations. Within this work, body scarring has been utilised in conjunction with knitting as a form of symbolism exploring the concepts of gender, protection and identity. In some cultures scarring signifies a ‘rite of passage’: sexual maturity, the journey from childhood to adulthood, or social acceptance. Other forms of scarification serve the purpose of tribal identification, spiritual protection, or aesthetic beautification. Previous exhibitions such as Visible Markings (Craft Victoria - 2009) and Re:skin (UTS DAB LAB-Research Gallery) appropriates patterning techniques from the tradition of scarification to place knitting at the forefront of a politics of the body.
Photography: Seung Rok Baek (seungrokphotography)
I was invited to participate in
the 2010 International Fashion Art Biennale in Seoul by the Korea Fashion and
Culture Association. Coinciding with the 60th Anniversary of the Korean War,
the hosting of the 2010 G-20 Summit, Seoul's designation as the 2010 World
Design Capital and other cultural programs, the Biennale took 'War and Peace'
as its theme. Through the medium of fashion art the broad aim was to channel
the scarring experience of war and to provide a platform for sharing,
co-existence and peace. The exhibition was held at the Hangaram Design Museum,
Seoul Arts Centre. 104 Korean and International artists participated. Inspired
by military body armour and practices of body scarification, the work created
for this exhibition, 'Pauldron', explored the three dimensional qualities of
knitting in relation to the body. A combination of techniques (tucking and
short row knitting) and a variety of materials were used. Formed on a
mannequin, the intention was to challenge perceptions of how contemporary knitting
could be applied uniquely to the body. The work took the form of a knitted
'body piece' which both cocooned and distorted areas of the body. As a designer
who works in both fashion and textiles my research interests are in
demonstrating the alternative ways in which knitting can be represented on the
human body and the diversity of new techniques that can be created. The work
explores how unconventional techniques can be used to create new body
constructions that move away from and challenge conventional garment shapes.Photography: Seung Rok Baek (seungrokphotography)
This work was produced with the support of Calcoup Knitwear for the 2011 Tamworth Textile Triennial. The work focuses on illusion and trompe l'oeil effects and imagery.
Photography: Jennifer Chua
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