Through the practice led research I created a series of wearable objects. The narratives collected through the discussion/interviews became a conceptual foundation for the designing and subsequent making of the wearable objects. The medium of wearable objects was chosen as a mode of exploration due to the correlations between the piano and wearable objects: the requiring of intervention of a subject to animate them; the objects intimate and connected to the body; the subject impose their ‘chosen’ rhythm upon the object, both ‘move’ with the body.
Through the design thinking process a majority of the designs I created were the product of components and elements, like fragments and pieces of memories in which they embody. Through the research conducted, with special focus upon the interviews, it could be seen that memories are fluid and ever changing – in a state of flux and constant ‘movement’. This state of change is also present within the objects themselves. Through the written paper there was an examination of registers present within all objects. Here I am speaking to and drawing on the analysis of the second register, the hidden form, which adapts to each subject that beholds it. Each beholder’s individual investment is a catalyst for this transformation. Through my research there is a sense of beholders (not necessarily the beholders of this project) attempting to control memory through objects: to remember to or ‘forget’ through the choice of wearing certain objects.
The choice was made to focus on one archetypal form of wearable objects, the link chain. This form speaks to, albeit quite literally to, of the fragments of memories in which the design was based. A link to chain relation as a metaphor for memory to narrative relation, but the design based upon the note to music relation. In each case, the components collect to create a holistic form. Each link doesn’t create anything, but a combination builds a narrative. The links are a metaphor for connection, association, interconnection, and network. Through the making process it felt as though I was piecing something together, as I was piecing together the chain in its specific pattern and sequence. Each link is interconnected with two others.
In the making process I had a major part of creating the links was to left myself be ‘taken over’ by the method. This usually means making instinctively, allowing myself to make the next logical step. I am not usually able to describe why decisions were made until a long time after the project/piece/series is complete.
The designs for the link chains were inspired and a response to the piano. After the first object analysis of the piano was when the design begun to develop. My main focuses within the analysis were the keys. They were the main point of contact and connection between the player and the piano. The keys of the piano inspired the rectangular design of the links, not including the ‘silence’ link design. The dimensions of the interior of the link (the negative space) were taken from reducing the dimension of the keys by a quarter. Although the design was based on the keys, it does speak to the design/style of the piano as a whole.
The rectangular design of the link does look as if it would be quite awkward, but it is quite fluid in its movement. The inherent shape of the rectangle restricts movement when you focus on one link to the next, but examining the chain as a whole the movement is flowing.
Through the designing process I realised I needed to focus on one aspect, creating a certain amount of rules and restrictions to the making process. The aspect I chose was the beholders interaction with the piano. In this way I am able to use one form or concept and applying it to different situations. In this way no two link chains are the same. I chose to base the necklace designs on different ‘types’ or genres of music that were played on the piano or linked to a narrative. The design for each chain was based upon a prominent piece of music that was played on the piano. Some pieces of music are directly links to a certain subject who surrounded the piano. Others we based upon narratives that were told in the interviews that were conducted. The chains were created using the same procedure and ‘language’, thus create a comprehensive series. Each individual chain speaks to the others. Each design is based upon a particular song that was mentioned in the interviews. The series began with the 88 keys design, Polonaise in A, Sleigh Bells, The Bells Ring On, Beethoven’s 5th Symphony and Chopsticks. Examining what the different ‘personalities’ that develop through the chains.
When connecting the chains into a loop it instantly classifies the object as wearable. As soon as the last link is soldered, joining the chain together the object is laden with certain connotations. Although the chain is missing one defining feature of a traditional link chain, a clasp. At this point there is no clasp on these link chains. Each chain is long enough not to need a clasp, but as per tradition and good design practice it has to be thought of. Due to the time restraint I was unable to fully resolve a clasp design to the level I am happy with. Without a clasp there is a continuous nature to the chain. The song in which inspired the chain can continually be revisited and/or played. It has a cyclical character.
I have left the links as they were made. There is a ‘truth’ to the making process. The link chain leaves evidence of how it was made. A trace of where the connections are located. Other than the necessary acid cleaning that is required after the soldering process. This practice and material leaves an interesting opportunity, as copper is notorious for oxidising. The oxidising process is accelerated with the oils present on human hands. The more the chain is handled directly correlates to the amount a speed in which the chain oxidises. A major desire of the design would be that the link chain changes and evolves with the wearer/beholder. That the chains would develop over time. The uncleaned nature of the link chains goes against my usual design aesthetic, but I felt that the chain ‘spoke more’ than perfectly clean link.
A major focus of the design thinking and process was that the link chains could be enjoyed and appreciated on several levels. The first level is face value as a wearable object. The second is an object describing music, even a specific piece of music. The last is an object relating to a narrative, an aides memoir or springboard for a narrative. I am unreservedly aware that spectators will make what they will of the link chains, but I want it to be on each register of the object. The object has to be intelligible on all levels.
As the project continued I have come to realise this project is the begging of something much larger. In this way, throughout the project I have tried to contain the examination/analysis to one aspect of the story as a whole. In the future I want to continue research into the ‘excess’ subjects invest part of themselves into objects. I want to extend the research into using objects as a ‘constant’ in the ever moving and developing world.
