This catalyst for this exhibition- Qatar, 2016 - was a multi-layered approach to social order and identity. The modesty movement and adornment through surface design encompass one strand while the artisan and the designer is in another ply. Each of these components was investigated and researched independently, then addressed as a group- weaving together the connections, interactions and effects they have on one another.  The paradoxical notion of adornment and embellishment on apparel for individuals involved in the modesty movement will be explored. Additionally, the various definitions and interpretations of the artisan and designer relationship will be reviewed. The intent of exhibition and supporting document was to introduce and define the key elements and layout a plan of implementation, chronicle the progress of the experimentations and describe the outcome of the thesis. 

The series is comprised of components which explore the use of light, texture and movement in surface design. Each subject matter integrates the idea of covering and seclusion with interaction and engagement. The space itself, the innermost sanctum of the building, was selected because of its location and sense of privacy, yet it has multiple entryways for easy access. The pieces reference separation: separation of materials, separating spaces, separation of the digital from the analogue and separation of control of what is seen and perceived. The group also invites participation. Sensors must be triggered by the viewer to activate the microcontrollers and digital devices.  The notion of visibility is explored through covering. What is hidden? What is revealed?  What is observed? 

Non-traditional materials contrast with quintessential patterns used for centuries by handicraft artisans. Spirals, whorls, and concentric circles intermingle with chevrons and diamond patterns, adorn the surfaces of acrylic, silk georgette and muslin. Sensors and actuators control light and movement while screens distance the viewer form the object, obscuring vision and clarity. 

Decorative elements traditionally used on apparel and textile art, applied by a craftsman or artisan, are reconsidered and produced using unconventional methods. Signifying motifs drawn from historical references and material culture are juxtaposed with light and movement to govern the viewer’s gaze and prompt recognition.

The electronics and hardware are incorporated as design details and ornamental features. Maintaining the human element of the artisan in the work was a key consideration; exposed wires and obvious soldering allude to the thread stitches and knots which are typical in textile art. Apparent idiosyncrasies retain the “hand” of the craftsman and create a singularity to the designs.

Electrospinning is a simple and versatile method for producing nanofibers and microfibers from a variety of functional materials with potential applications in filtration, tissue engineering, drug delivery, electronics, etc. [1–3]. Products incorporating nanofibers such as filters and battery separators have been commercialized [1]. To electrospin fibers, a voltage is applied to a capillary containing a polymer solution or melt.

This research demonstrates the ability to simultaneously pattern fibers and fabricate functional 2D and 3D shapes (e.g letters, mask like structures with nose bridges and ear loops, aprons, hoods) using a single step electrospinning process. Using 2D and 3D mesh templates, electrospun fibers were preferentially attracted to the metal protrusions relative to the voids so that the pattern of the electrospun mat mimicked the woven mesh macroscopically.