TOWARDS A TOOLBOX OF SCULPTED COSTUME
How can sculpted costume, as an artistic practice,
function as a tool for socio-political impact?
artisic research
Supervisor: Vivi Touloumidi
Master thesis 2023-2024
This thesis investigates the realm of sculpted costumes, examining their role as autonomous mediums and empathetic tools within contemporary artistic practices, with a focus on understanding their socio-political impact. Framed from the perspective of a maker and researched through case studies, the study aims to develop a toolbox for incorporating sculpted costumes into artistic practice.This paper contributes to a deeper understanding and knowledge of sculpted costumes as social and political carriers of meaning, while also providing practical insights for practitioners.
In the first chapter, the concept of costumes is examined, starting with their definition, etymology, and various perspectives on how to approach the meaning of the medium. The chapter defines the idea of costume as an autonomous medium and refines its relevance in contemporary society, focusing on the relationship between costumes, bodies, and materiality.
The second chapter narrows the research to sculpted costumes, investigating their impact on both the audience and the wearer. Sculpted costumes are defined as empathetic tools, with connections drawn to feminist political theory and political art practices to understand their critical role in artistic practices.
In the third chapter, a case study of Lexy Ho-Tai’s "Kookerville" explores how sculpted costumes interrupt public space, conveying messages of care and connection. The chapter delves into tools such as creating desire for change, masking, craft techniques, and tactical frivolity, as well as exploring themes of joy, the grotesque, and the carnivalesque.
The fourth chapter focuses on the Zinneke Parade, a biennial carnival that uses costumes as a method to create a temporary connection between participants and communicate messages to the public. This case study examines the collaborative process, the tactical use of costumes, and their role in creating shared knowledge, repurposing materials, and collective performance in public space, all within the framework of joy and the carnivalesque.
In the fifth chapter, Maaike Fransen's "Stages of Grief" is explored, emphasizing the use of sculpted costumes to convey narrative through absence. The chapter analyzes Fransen’s approach to using ready-made materials and examines the significance of objects, ambiguity, recognition of the body, and kinesthetic empathy in the context of care, empathy, and a feminist approach.
The sixth chapter presents Yuka Oyama’s "SurvivaBall Home Suits," focusing on sculpted
costumes that convey personal and social narratives about home, belonging, and care. This case study explores different aspects of empathy, including empathy toward objects and contextual empathy, and investigates the connection between nostalgia, anthropomorphism, and empathy in the context of sculpted costumes.
Finally, the thesis concludes by developing a "toolbox" which serves as a foundation for further exploration of methods, tools, and concepts in sculpted costume, offering insights into their potential as empathetic tools for artistic practice.
Awards: Best Master’s Thesis at the Royal Academy of Fine Arts, Antwerp 2024
