co-curated by Brie Trenerry and Hiball
Photography: Nirma Madhoo
Model: Alice Hurel
Stylist: Hangna Koh
Shoes: Iris van Herpen for United Nude
MUA: Josie Chan
CGI: Devon Fay
‘R3Vision’ is an exhibition and screening co-curated by Brie Trenerry and Hiball showcasing works from Australian artists and designers engaging with fashion film and digital presentation in unique technologically motivated forms. Fashion film as an artistic and commercial practice has undergone a rapid evolution in a short period of time, from the process oriented SHOWStudio developed by Nick Knight to mainstream acceptance online and in bricks and mortar venues.
Physical limitations imposed by COVID-19 lockdowns have accelerated artistic and commercial digital innovation and experimentation in the fashion industry. New collaborative ventures at the intersection of art, film and fashion have evolved, as practitioners engage with novel virtual tools in the creation of moving images both for and beyond traditional screens.
The works selected for ‘R3Vision’ include fashion films and interactive experiences that utilise advanced media modalities including animation, AR, VR and photogrammetry. These are viewable in the basement space, and interactive works will be experienced through personal devices via QR code (or similar) scans.
Alexander Beattie, OBSIDIAN, Joseph Haddad & Maximilian Bishop, Hiball, Oscar Keene, Rosanna Li.
OBSIDIAN are: Nirma Madhoo | Kiara Gounder | Jason Stapleton | Ponz
The exhibition is open daily from 10am – 5pm, 11 – 20 March.
Opening night 11 March 5-9pm
This is a free event. Registrations are not required.
About the Curators
Brie Trenerry is a local interdisciplinary artist and curator who has exhibited extensively both in Australia and internationally. Trenerry is currently completing her PhD, which explores altered states of consciousness and collaboration as generative strategies for an expanded cinema. Brie has been the recipient of residencies at the Australian Experimental Art Foundation in Adelaide 2015, the Australian Archaeological Institute at Athens (AAIA) Contemporary Creative Residency via the University of Sydney 2018 and KdMoFA (Kuandu Museum of Fine Art), TNUA (Taiwan National University of the Arts, RMIT:ART:INTERSECT 2019. Trenerry is the video curator at MARS.
Hiball is an artist duo comprised of Stanton Cornish-Ward and Alexandra Kirwood, specialising in experimental video, short film and fashion film. Both graduates from RMIT’s Bachelor of Design (Fashion), the duo formed Hiball in 2018 as a way to explore larger concepts through generative video projects. Hiball utilise their design and film backgrounds to create highly detailed, speculative worlds. Their work has been shown in the official selections of film festivals in Australia, Bulgaria, Canada, Denmark, Hong Kong, Ireland, Italy, Japan, Mexico, Romania, Singapore, Spain, Taiwan, Thailand, Vietnam, U.K and U.S.A.
This event is owned and operated by MARS Gallery and proudly promoted by Melbourne Fashion Festival as part of the Independent Program. Please contact the organiser directly for further information and to review their COVIDSafe Event Plan.
Oscar Keene, 2020
Oscar Keene undertook their honours year of the Bachelor of Fashion (Design) (Honours) at RMIT University in 2020, focusing on digital fashion creation due to the limitations imposed by the pandemic. Their practice explores queer materiality, and the subversion of convention through fashion archetypes, having previously undertaken a degree in history at the University of Queensland, and the Associate Degree in Fashion and Design Technology at RMIT. In 2020 Oscar’s digital outfit opened the Melbourne Fashion Week Student Runway, and they were a finalist for the Australian Fashion Foundation Award Scholarship. Previously they received the award for a Diverse and Impacting Studio Project in 2018, for Creativity in Sustainability 2019, and had their work featured in Semi-Grad: The Showcase, Situation: Brunswick, and Wandering Room Gallery. They are the recipient of the Grathelms Scholarship for their honours year at RMIT in 2020, and the City of Melbourne COVID-19 Arts Grant.
Fluid is a direct response to designing during the pandemic. Through a fusion of digital and physical mediums it addresses the questions: how does the queer body intersect the material and relate to space when traditional boundaries are in flux? What does queer safety look like when queer community is fractured? Funded by both the City of Melbourne COVID-19 Arts Grant and the Grathelms Scholarship from RMIT, the collection’s digital and physical fashion outcomes fuse visually in the hope of finding new ways that can fully actualise the conceptual principles behind the project, broadening the potential for the dissemination of the collection.
In these animations, the garments, their models and the environments they inhabit purposefully share properties based around the colour and texture of the material and the design of the garment in a way that rejects hierarchies. The animations illustrate visual and physical relationships between concepts, and investigate a new ethics in the interaction between human and non-human forms, and between concept and prototype design. 3D rendering may have once seemed exotic to the industry, but the pressures and demands of this past year have accelerated its usefulness and demonstrated its viability and purpose.
It is an exciting time to try a new merged fashion experience that parallels the very nature of our evolving identities in-between on and offline states. This project demonstrates that augmented reality (AR) full fashion looks can be activated on any body type instantly in front of a camera, captured and shared with others, enabling large- scale, instant global dissemination.
Rather than opt for a cold futuristic look of white and silver, robotic expressionless states, we might embrace our colourful, eclectic material legacies for warmer energies. Here, recycled Japanese kimono silk remnants, embroidery threads, beads, scraps of calico, denim and cotton twill- familiar materials handcrafted and brought into the sterile digital to help retain a rich sense of materiality. In this way we can stay connected to our past stories, overlapping and mixing them as we make new ones, redefining who we are.
In the frantically superficial world of social media, a talking carrot filter achieves stunning popularity, proving that AR technology is still in its “social infancy” as novelty. Well-designed fashion lenses should however, be considered more seriously in mainstream expressions of fashion, such as ready-to-wear, or even luxury fashion contexts, as well as higher art and cultural forms of expression in the performing arts, art, dance, interactive fashion exhibition or theatre. The global pandemic is only one of the reasons why.
AR fashion lenses are a part of the many solutions we need to address environmental sustainability in fashion, one that allows for a new kind of zero impact fast fashion consumption. They can look and feel great on you!
Based in Melbourne, HIBALL are a director duo specialising in moving image for the digital world. Their work dances between art, fashion and technology – exploring speculative realities and memory. Operating between digital and analogue, their approach remains rooted in emotion and human experience.
Caught in a neoliberal stasis, two freelancers work deep beneath the earth; refreshing tabs, sending emails, waiting for video conferences to begin. Time layered upon each other, trying to decide the right WFH outfit.
ALEXANDER BEATTIE: [LOW LEVEL ANGEL]
Low Level Angel is the alter ego of Alexander Beattie. His work establishes a foundation to explore temporal concepts of design from the past to the present. Based heavily in fashion practice, Low Level Angel’s reach is grounded in the rituals and conventions of fashion dress. Different archetypes of tailoring can be perceived throughout the work, warped and drowned in a developing digital space. The concept of the Low Level Angel is inspired by a sense of spiritual hierarchy found in different religions, with the belief of seeing beauty in dark and cruel places. Beattie’s practice explores virtual reality and gaming environments, investigating potential avenues for digitally created textiles and new iterations of gaming avatars with enhancements of cloth-based rendering.
Low Level Angel is a collection that represents a meshing of past and present. Historical silhouettes are juxtaposed with 3D modelled artefacts built inside a virtual environment using 3D programs CLO and Blender. The use of 3D establishes a new foundation for exploring what a fashion collection represents inside a non-physical space. As this collection was based on historical fashion components, a manifesto was developed in its initial design, which discussed traditional forms of construction such as tailoring.
The past is also represented through various links to history through cinema, specifically referencing filmmakers such as Akira Kurosawa Rashomon 1950, and Charles Laughton Night of the Hunter 1955. Films that have themes of revenge, and morals, spirituality and redemption. This cinema aligns with genres including adventure, thriller and horror sub-genre Southern gothic all of which embrace a connection with nature, old technologies, textiles and costume. These can be seen throughout Low Level Angel designs, with unusual ridged armour-like forms bearing tools such as swords and scythes, ritualistic drapes and artefacts from fictional histories. The avatars are imbued with rough and worn textures, symbolically showing the wear and tear of the garments conveying to the spectator that the environments the avatars occupied were harsh and unclean.In this context, garments work within a physical space and are potentially constructed and used for specifications within further design and production.
Jason Stapleton is a 3D artist and animator whose experience spans from architectural visualisation to working for post-production houses. He uses Lidar scanning technology, photogrammetry and game engine interfaces for VR artistic work. Jason has worked on various international artist AR/VR commissions and collaboratives. Recent works include a short film at Melbourne Planetarium, Dome Under Fulldome Festival as well as VR development for lecture contexts at Harvard GSD. Jason’s work has an otherwordly aesthetic which he is currently exploring for social VR environments.
Originally trained as a fashion designer, Nirma Madhoo is a fashion filmmaker who is expanding her creative practice through a PhD at RMIT, School of Fashion & Textiles. Also a fashion academic, Nirma is interested in emerging technologies and her VR and XR projects have a transdisciplinary and collaborative approach. Her work explores posthumanistic themes through the lens of digital fashion. Nirma’s fashion films have been showcased internationally at film festivals and digital festivals in UK, US, Germany, Scotland, South Africa and most recently at Melbourne Museum, Australia.
Kiara Gounder is a South African fashion designer specializing in 3D prototyping for fashion artefacts. In 2014 she exhibited her Digital Nature capsule collection at The Design Indaba Conference as an emerging creative. Her work has since been featured in numerous publications such as ELLE magazine, Visi and Creative Feel. Kiara’s latest collection, Mutari Corpora is a fashion interpretation of animal anatomy indigenous to Southern Africa presented as adornment for the female body. Animal bones and horns were 3D scanned and digitally manipulated to 3D print ‘exo-skeletal’ fashion artefacts that conceptualise interior and exterior animal anatomy on the body – representing a hybridity of animal and human biology.
Kiara is currently a fashion academic at the Durban University of South Africa, specializing in Fashion Theory and Computer Aided Design.
Ponz (she/her) – Digital Fashion Specialist
After her Master’s Degree in Accessories Design from Politecnico di Milano she worked in a corporate environment in Switzerland which gave her a strong 3D background and knowledge around the world of digital sampling. She then successfully started her freelance career in Melbourne in Jan 2019, working with brands and studios including MCM, Off White, Farfetch, Carhartt, Hermès, Highsnobiety, The Fabricant, The Diigitals, LVMH and Eastpak.
Awarded as Clo3D Power User in 2019 and 2020 she specialises in fashion accessories 3D design. She works with brands to guide them into integrating digital tools in their practice and building a consistent workflow or to provide digital services. Experienced in managing teams for digital production of assets for virtual sampling purposes and creative campaigns, in 2020 she was selected for the Helsinki Fashion Week 2020 Designer Residency program.
A lifelong-learner she will dive deep into new fascinating topics keeping an open mind but her feet on the ground.
PROJECT BIO | OBSIDIAN
OBSIDIAN. A minor planet. A rogue planet captured by AXP 1e-11 gravitational well. Noir. A virtual world inhabited by symbiont and avatar, the I.N.A, homage to Octavia Butler’s protagonist in Fledgeling. The site-specific installation at MARS Gallery will allow visitors to embody OBSIDIAN by taking its avatar shape to visit the world in an Oculus VR headset in realtime. The I.N.A’s fashion performances are installations that can be navigated in 3D in the exoplanet’s procedurally generated geography. The I.N.A performs in an Alexander McQueen dress, digital skin and the Mutari Corpora 3D printed fashion artefact range. AR triggers are also installed within the gallery, allowing visitors to view and record the I.N.A as 3D fashion sculpture on their mobile devices. OBSIDIAN as an experimental, posthumanist digital fashion XR project launches at MARS Gallery, but will be available online as an ongoing evolving social VR world.
Special Thanks for Character Rigging & Animation: Jesse Stapleton | Sound Design: Simon Ratcliffe | Voice Over: Jade Hill
Joseph Haddad & Maximillian, 2020