Review of Literature

I am interested in the power humans have to infuse symbols and objects with
meaning into their lives. Many people wear tokens, such as crosses or pendants, to
help them navigate day to day living. Similar to those tokens, my works of art are
meant to imbue their wearers with the power to get through life. Just as a mantra
can help you get into the right frame of mind for a situation or task my garments can
solidify the wearer’s intentions for various settings. The idea of wearable artwork
from unconventional materials first came to me when I saw the work of Jennifer
Trask at the Renwick Gallery in Washington D.C.

Jennifer Trask is an American contemporary artist who inspired me early on in

my exploration (Trask Studio, n.d.). Trask works with unconventional materials:
combining bone, wood, thread, and home decor pieces to create haunting artworks
(Trask Studio, n.d.). In her artist statement, she points out how the relationship
between humans and their environment has affected her work:

I can roughly pinpoint the beginning of this series to a wall piece, Intrinsecus,
made for Dead or Alive, at the MAD in 2010. I was struck by the highly carved
and stylized acanthus motif of the a 19th century italian frame that serves as both
frame and subject. Formally this work addressed the traditional museum
practice of isolating ideal examples of natural beauty, and in effect a death of the
real, the imperfect, the individual. The cultivated notion of nature overshadows
the authentic. On another level, the question of cellular memory and unspoken
intent is brought to light. It seemed ironic that here are these highly stylized leaf
forms, carved in wood -from a tree that was once wild, organic and unruly, no
doubt cut down, milled and processed into manageable slabs, and shaped into a
perfectly proportioned leaf pattern.
 The new wall pieces, Abundant Uselessness and Still Life still point to a
human curatorial oversight of the evolution of our environment and its inhabitants
for several millennia from outside the museum walls (Trask Studio, n.d.).

Many of her artworks experiment with the relationship between the materials, the
form, and its resemblance to common objects (Trask Studio, n.d.). In Figures 3 and 4,
the playful and melancholy juxtaposition between bone and form evoke a feeling of
familiarity and morbid curiosity (Trask Studio, n.d.). In all of Trask’s work from her 2014
show “Unnatural Selection,” bone is used as one of her primary materials. In some
pieces, (see Figure 5) she will transform it so that it is almost unrecognizable. In others
(see Figures 3, 4) the bone is front and center as a reminder of our fleeting place in the
universe.

Figure 3.​ Suture Study 2 Encaustic, gold, wood, bone needle 7.75 x 6.5 x 2.5 inches,
Jennifer Trask (​Trask Studio. (n.d.)
Figure 4​. Caliper, 2014 Collaborative work with Sergey Jivetin Turkey wishbone, brass,
gold leaf 6 x 6 x 5 inches, Jennifer Trask (​Trask Studio. (n.d.)
 Figure 5.​ Encroachment (detail), 2013 Wood, gold leaf, gesso, found objects (18th
century frame fragments), bone, antler, calcium carbonate, druzy quartz, teeth, resin,
mica 32 x 24 x 7 inches, Jennifer Trask ​(​Trask Studio. (n.d.)

Jennifer Trask challenges the relationship between art and viewer by creating
wearable sculptures out of the same materials. She discussed her interest in creating
jewelry with Michelle Tay of BlouinArtInfo:

What makes jewelry powerful are two things: the meanings we attach to them
(maybe they mark a moment in your life, or were handed down to you from a
grandmother or given by a lover); and its scale and intimacy. It is art that you can
touch, that you can wear. The reason I make large bone necklaces and brooches
is because I want to be part of the experience [when the wearer wears it]. As
 much as I love making sculpture, it goes up on a pedestal and you can’t touch it.
(Tay, M. 2015).

I was fortunate enough to see Trask’s work at Renwick Gallery in Washington

DC in 2014, right before I started my latest body of work. I have always loved art
nouveau, and I found Trask’s artworks moving and inspiring. Her bone necklaces (see
Figure 6) inspired me to work with that same material when making the jewelry for my
own piece ​Shaman​ (see Figure 7).

Figure 6. ​Garland Neckpiece Found and carved bone and pre-ban ivory, antler,
diamond, Jennifer Trask ​(​Trask Studio. (n.d.)
Figure 7.​ ​Shaman​ detail (Kelley Griffin 2017)

Figure 8.​ ​Shaman​ Kelley Griffin 2017

 The Shaman is the messenger of the spirit realm with one foot in our world and
the other with the spirits (​Shaman. (n.d.)​). She wears antlers as a nod to the origin of
the word “Shaman,” which is said to come from the Evenki people of northern Russia
(​Editors, 2017​). These people were nomadic and a large part of their culture dealt with
herding and riding reindeer (​Editors, 2017​). Her bone necklace alludes to her
connection to the spirit realm and is made from a mink skeleton. The gold branches
symbolize her connection to nature, almost seeming to become veins springing out from
her core. From her fingers and branches drip magic, taking the shape of crystal drops,
as she attempts to bring her message to the mortals on Earth.

This earlier series also drew upon the Wiccan tradition of witchcraft for my
piece ​Witch​ (see Figure 9).

Figure 9.​ ​Witch​ Kelley Griffin 2017

While the modern western interpretation of the witch is a green skinned sorceress the
Wiccan witch is a healer and wise woman (​Cantrell, G. 2009​ p 7). The colors of her
dress symbolize the stages of a woman’s life: white for the maiden, red for the mother,
black for the crone (​Cantrell, G. 2009,​ p 26). The red begins at her groin and spreads
downward suggesting menstruation and fertility. The phases of the moon behind her
head also connect with Wiccan female symbology with the waxing, full, and waning
moon (​Cantrell, 2009,​ p 26). The moon is an ancient female symbol not only in the
Wiccan tradition but in many other cultures as well. Other female lunar deities include
Artemis (Greek), Chang’e (Chinese), Coyolxauhqui (Aztec) and Sina (Polynesian)
(Wigington, 2017). In this piece, the cosmos circle her head and spring from her fingers
as a tribute to the many myths that associate the male with day and the female with
night (​Cantrell, 2009​ p 26).

The last piece in my previous series is titled ​Warrior​ (see Figures 10, 11).
 Figure 10.​ ​Warrior​ Kelley Griffin 2017

Figure 11.​ ​Warrior​ Detail, Kelley Griffin 2017

The woman in the white tunic and armor is the ​Warrior.​ She is based on one of
the earliest recordings of a woman dressing as a man and going to war, a woman
named Epipole. Epipole fought for the Greeks against the Trojans, around 1200 BCE,
and when her gender was discovered she was stoned to death (​William Smith, Ed.
(n.d.))​. The tunic is reminiscent of the linen garments worn by ancient greeks (Laver, J.
2014 p 25) and the color white of suffragettes in the late 1800s and early 1900s (​A. O.
2014​). The warrior’s greaves and spaulders are also inspired by ancient Greek armor
(Laver, J. 2014 p 34) but with metal studs as a punk twist to showcase Epipole’s
rebellion of the status quo. She carries glass daggers that cut into her skin as she uses
them to fight for herself and her cause. Her hair (see Figure 11) is styled to resemble
the mane detail on a Greek warrior’s helmet (see Figure 12) with red streaks throughout
to symbolize aggression and violence (Przybyla, 2018). Lastly she wears red pumps, a
nod to the modern warrior woman still fighting the ever-present glass ceiling.

Figure 12. ​Combat between a Trojan and a Greek, figures are dressed as
hoplites. Frieze on the tomb of a Lycian prince, the Heroon of Goelbasi-Trysa, Turkey,
c. 380 BC. (Powell, B. B. (2015, June 03).

My current work, separate from my earlier series, has been heavily influenced by
mantras as well as Nordic runes and the powers associated with them. According to
the Columbia Electronic Encyclopedia, 6th Edition, a mantra is the sound form of reality
and has the power to bring the reality it represents into being (Columbia, 2017). The
concept of the mantra is generally associated with Hinduism and Buddhism however for
mundane mantras initiation by a guru is not required (Trama, S., & Cheema, N. 2016).
This technique of repetition allows a person to focus their thoughts and allows the
practitioner to insert their intentions directly into their nervous system (Trama, Cheema
2016). A mantra does not have to come in word-form and can be just as effective using
visual cues (Aschwanden 2011). Instead of repeating a word or phrase, a person can
attach meaning to a color or symbol and use their personal coding to help them stay
focused on their goals (Aschwanden 2011). The rune-magic in my own work is similar
to a mantra in that it focuses on the positive and addresses what the wearer wants to
feel rather than the challenges they are trying to overcome (Aschwanden 2011). There
is much evidence that mantras can help humans with non-religious activities; mantras
can help focus the mind in order to help humans better themselves and achieve their
goals (Aschwanden 2011). I will use the psychology behind mantras and positive
thinking in my own work in order to influence the audience and the wearer.

Clothing has a long history, however it is the psychology of clothing that most
relates to my current work. Many ancient cultures thrived in temperate climates and
clothing would not have been needed as protection from the elements (Laver, J. 2014 p
7). This has led historians to believe that clothing would have been worn for display or
for protective magic rather than a more utilitarian purpose (Laver, J. 2014 p 7). Today,
humans wear clothing not only to cover themselves but to express our individual style or
personality (Laver, J. 2014 p 276). Although we can use fashion as a statement, our
choices don’t always have to be about how others see us. To artist and writer Emily
Spivack, “the most compelling thing about a garment is the meaning it carries for its
owner” (Bleyer, J. 2018). Indeed, even in modern times, humans have deep
connections to their clothes, going even so far as to attribute magical properties to them
(Solomon, M. R. 1986). Michael R. Solomon, a researcher from New York University,
conducted research in the 1980s dealing with people’s deep connections with Levi’s
501 jeans. While participants in his study may not have used the word “magic” they
attributed super natural and life-saving qualities to their 501 jeans. Participants also
acknowledged how clothing could affect their mood, such as boosting their confidence
(Solomon, M. R. 1986). Because of clothings intimate contact with our bodies, it should
be considered as part of our extended self and an integral part of our psyche (Cox, &
Dittmar, 1995). In my works I plan to use this relationship between humans and
garments to help carry the message of each piece.

The combination of our connection to clothing, runes, and mantras can be

especially powerful. Runes are not simply a letter of an ancient alphabet, they are the
embodiment of an idea or concept (Thorsson, E. 1985 p 1). The runic system may have
been created as early as 200 BCE (Thorsson, E. 1985 p 5) and was born from the signs
created by Bronze Age magicians and priests made to express the concepts behind
their teachings (Thorsson, E. 1985 p 3). The Nords believed that runes, as magical
glyphs, contain energy that can affect the unconscious mind of humans (Mountfort, P.
R. 2003 p 14). Indeed, runes may specifically be used for “evocatory magic” and
“self-transmutation” (Thorsson, E. 1985 p 14). In my work I used the concepts behind
the runes to infuse my pieces with purpose. In one piece, I designed fabric with a
repeating pattern of Jera, the rune for harvest time (see Figure 13). The finished work
was a blouse (see Figure 14) that could be worn in a variety of professional settings. At
work we reap the rewards of our efforts and the rune for harvest would focus the
wearer’s energy in order to help them be their most productive selves.
 Figure 13.​ Jera, rune for Harvest time

Figure 14.​ ​Harvest​, Blouse and Pencil Skirt with Jera, Rune for Harvest, Kelley Griffin
2017
 In my piece ​Challenge,​ I used a repeating pattern of the rune “Urox” (see Figure
15) which symbolizes a person being pitted against a challenge or standing against
adversity (Mountfort, P. R. 2003 p 73-74). The resulting fabric was used along with
color-blocking to create a workout ensemble (see Figure 16) that would help the wearer
overcome their physical challenges.

Figure 15.​ Urox, Rune for Challenge

 Figure 16.​ ​Challenge​ with Urox, Rune for Challenge, Kelley Griffin 2017

Runes can also be bound together and combined to create a broader and more
powerful glyph called a “bandrún” (Thorsson, E. 1985 p 100). A practicing Vitki would
have vast artistic license when it came to the combining of runes and would consider
aesthetics as part of the binding process (Thorsson, E. 1985 p 100, 101). Figure 17 is
an example of a bound rune. This particular bound rune was found on brooch cerca,
circa 600-650 CE (Thorsson, E. 1985 p 101). This diagram is a combination of the
Othila, Ansuz, Tiwaz, and Naudiz rune and would be given to a woman as a divine and
spiritual proposal of marriage (Thorsson, E. 1985 p 101.)
 Figure 17.​ Example of a bound rune

Another one of my pieces (see Figure 18) combines the Kenaz rune for flame
(Mountfort, P. R. 2003 p 96) and the Othila rune for home (Mountfort, P. R. 2003 p 189).
In this piece, the runes work together to tell a larger story, similar to the bound rune in
Figure 17.
 Figure 18.​ ​Home​, runes for hearth and home, Kelley Griffin 2017

My future works will build on the use of runes and create more of my own bandrúnar.
This will allow me to make my work more specific and specialized.

Over time the inspiration of my work has shifted from creating personifications of
female power to creating wearable pieces for everyday use. However, despite the
differences between these two series and their influences, the common thread is their
connection to the female identity and daily struggles women must overcome. I am
excited to continue my exploration of the female psyche and continue making pieces
that audiences can enjoy on the wall or in their closet.
Methodology

Just as with any piece of artwork there are a variety of techniques that can be

employed when creating garments. From sketch to completion there are a plethora of

variables to be considered and acted upon in order to ensure an artwork is an efficient

and effective vehicle of purpose.

I begin each piece by researching the emotion or concept I am trying to capture.

This may include symbols that are associated with that concept, highlights in history, or

connections we may have as a society. This research may happen on the computer or

in a book or through conversations with persons that are involved in the pagan religions

that most resemble ancient Norse religion.

Once I have researched my subject, I will sketch out some potential ideas for the

design. Sometimes the final design will directly replicate the sketch and in others there

will be a distinct difference as the idea evolves over time. In Figure 19, my original

sketch for ​Shaman​ is shown alongside the completed piece. For this particular artwork

the finished product ended up exactly as I had envisioned.

 Figure 19. ​Sketch for ​Shaman​ and final execution of ​Shaman

Many times I can’t find the exact fabric or print I would like at the fabric store so I

must either manipulate an existing textile or create my own. This may mean dyeing

fabric or creating a custom print and ordering it online. I plan in the future to branch into

screen printing, painting, batik, and distressing. My goal is to use whatever fabric

techniques will help best tell my story. In my piece ​Witch​, I had to build the skirt out of

cotton (a fabric that takes dye very well) and then tie-dye the fabric to create the effect I

desired.
Figure 20.​ Tye-dyeing the first color for the skirt of ​Witch

Figure 21.​ First layer of tye-dye for the skirt of ​Witch

 Sometimes I must acquire the textile first, other times I manipulate the fabric

once the garment has already been constructed. In the case of ​Harvest​ and ​Challenge

(see Figure 22) I created a custom print and ordered the fabric before construction

where in ​Home​ I painted the rune after cutting the pattern of the fabric but before

sewing it together. In the future I will have to plan out each piece and then decide in

what order to do each step.

Figure 22.​ (Left) Custom fabric ordered for ​Harvest,​ (Right) Painted Rune for ​Home

Every ensemble will start with a pattern, either created from scratch or modified

from an existing commercial pattern. Because most bodies share similar characteristics

it is much easier to modify an existing pattern that is similar to the silhouette I have in
mind than to draft each pattern from scratch. Many times I will go to a sewing store

armed with my sketchbook and try to find a pattern similar to my design. Once I find

one I can modify the pieces using large pieces of paper. This allows me to make

custom designs quickly and efficiently.

Once the pattern has been created for a particular piece I can cut it out of the

materials and begin to assemble the pieces. Usually this means fabric but in some

cases it can mean another garment material, such as the leather I used for the armor in

Warrior ​(see Figure 23). Sewing can be surprisingly tedious, sometimes a seemingly

simple piece such as the pencil skirt in ​Harvest​ can take up to eight to ten hours once

all the finishing details are added. More complicated pieces, such as the leggings in

Challenge​ which employ a technique called colorblocking (see Figure 24), can take

even longer, so I must be careful in calculating how long each piece might take and plan

accordingly.
Figure 23.​ Progress shot of spaulders for ​Warrior

Figure 24. ​Progress shot of leggings for ​Challenge

 Fit is very important to clothing so I will do periodic model fittings throughout the

process to make sure there is not a surprise snag at the end. If something is too large it

can be taken in, usually without too much extra labor, however if something is too small

the solutions can range from letting out a seam (usually unforgiving), starting over, or

finding a new (smaller) model. I will be using friends and acquaintances as my models

so I will choose who will wear something based on their personality or availability. Since

I cannot afford professional models, I find that it is to my advantage when the

personality of the character is similar to the model to begin with.

Each of my pieces will have a myriad of accessories and accents that

accompany it in order to round out the story and solidify meaning. Both ​Harvest​ and

Shaman​ have custom jewelry that I created to go along with the garments themselves.

Figure 25. ​Progress Shot of bone earrings for ​Shaman

Other pieces may have sculptural aspects as well, such as the daggers for ​Warrior​ (see

Figure 26) or the mantle of branches in ​Shaman.​

Figure 26.​ Glass daggers cut from plexiglass in ​Warrior

Each piece has its own process depending on the material which is chosen based on its

ability to carry meaning in the piece. I will have to be flexible in my building processes

in order to make sure I can accommodate each materials and its quirks.

After each piece is finished being created I will conduct a photo shoot with the

models in order to document the piece on a human body. Because the person wearing

the garment is a part of how it is interpreted the model must be styled and directed on

how to use their body in the photoshoot. Hair and makeup both have to be considered
when getting ready for the shoot and deliberate choices must be made when choosing

how the models will be styled.

Figure 27.​ Samela St. Pierre applies dark makeup and red hair extensions as part of

her styling for the ​Witch​ photoshoot

The Witch piece dealt with strong feminine energy and the phases of being a

woman. Because of this Samela was asked to move her body in ways that were more

sensual than the other two in the series. As a yoga instructor and student of

belly-dancing she was able to use her previous knowledge to inform her poses for the

shoot (see Figure 28).

 Figure 28. ​Samela posing for the ​Witch​ photoshoot

The photoshoot itself will involve still images as well as video. Locations must be

scouted in advance in order to best compliment the subject. In order to keep the

process manageable I usually try and keep driving time under a half hour, mostly for

model comfort as some of the garments are uncomfortable and may not be appropriate

for the current weather. Because my models are working for free I want to keep them

comfortable and willing to model for me again. The photoshoots generally take all day

which makes them a considerable time commitment on their part. It can also be
strenuous to stay in character. Gina’s ​Warrior​ photoshoot took place in early April and

was very chilly.

Figure 29. ​Gina taking a break from being her serious character during her ​Warrior

photoshoot

Once the videos and photos have been collected, I will upload them onto my home

computer. The photos must be edited and printed and the video must be edited

together into a video that can be projected on a wall and looped for the duration of the

show.

In addition to ​Witch​, ​Warrior​, and ​Shaman​ I plan to make an additional seven

pieces in my series of symbolic readywear. My goal is that together they will tell a

complete story and work to empower their wearer throughout every aspect of their life.
Each piece will be able to be worn on the human body and fully functional with the

possibility of being sold for mass production.