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Process

Fabric and yarn scraps from the production of this exhibition were made into paper for the garment What's Left Over. The textiles were cut down into 1"x 1" pieces and boiled in soda ash for an hour, this was then beaten by a Hollander paper beater to create a slurry for making paper. Seeds from last year's Cornell Natural Dye garden were added to the paper when it was still wet to create the color variations in the final composite. 

 

Pieces of used Eileen Fisher garments were stuffed into tubes of silk organza and woven together to create the piece Convergent Threads.  The linen used for weaving was also sourced from Eileen Fisher and was mill end waste from production. 

 

Yellow onion skins as a natural dye from Risley Dining, Cornell University. 

 

Black bean dye from Rose House Dining, Cornell University. 

 

Guides for the scouring and mordanting processes used before dyeing. 

 

I've had a long time interest in sawdust as a natural dye and even wrote my Master's thesis on it. Which can be found here: https://link.springer.com/article/10.1186/s40691-016-0074-9

For this project I was able to use a large variety of wood sawdust that I've been collecting from my father's woodshop, from the Cornell woodshop, and many other friends. 

 

When it came time to decided on display forms it didn't make sense to use plastic non-biodegradable mannequins for this exhibition, so with the help of Kim Phoenix we began the journey of creating wooden mannequins. A body scan of myself was used to produce a waffle structure using Rhino 3D software and the resulting file was laser cut from MDF board.