A R T H R O P O D A

Arthropodaby Natasha Fagg

natashaelizabeth@live.com.au0430 466 221

My research is focused upon a comparative body of work which explores adornment through two opposing elements, the engi-

neered versus the crafted. I have developed a series of prototypes which compare embellishment through the facility of technology

(in particular 3D printing) and the artisan (hand embroidery). The driving force behind my research is charged by an initiatory refer-ence to insects viewed under the microscope. Their reference has

been abstracted through digital function and these hyper magnified surfaces provide inspiration for volume, silhouette, design lines and structure. Microscopic explorations of growth. The natural informs

the synthetic.

This research lead me to investigate complex processes for digital sur-face manipulation. I have undertaken extensive self-directed research

to expand upon my current knowledge of 3D development software. The notion of hyper magnification lead me to investigate three

dimensional fractal forms through the amalgamation of various algo-rithms. According to The Concise Oxford Dictionary of Mathematics:

Fractal nounA set of points whose fractal dimension is not an integer or, loosely,

any set of similar complexity. Fractals are typically sets with infi-nitely complex structure and usually possess some measure of self-

similarity, whereby any part of the set contains within it a scaled-down version of the whole set.

Arthropoda

In order to extract these generated fractal forms from the program a voxelstack needs to be created, essentially a voxelstack is a series of splices of the form. I worked alongside technical engineer Chris Murray, whereby we are used his highly specialized medical image processing software, Mimic’s by Materialise, to collate the voxelstack into a usable mesh object. This software was developed to generate 3D models from CT or MRI scan data, the structure of which is very similar to that of the voxelstack. This mesh object was then able to be manipulated into the desired shape within a data preparation software. 3D scanning allowed me to scan a mannequin into this software, providing the facility to work upon the same form both digitally and physically.

The acquirement of knowledge within this unfamiliar realm formed a condition of my self implicated contract for the year, I wanted to develop the technical understanding and comprehension of these programs in order to be the designer and producer of these pieces.

The opposing facet to this digital exploration is an investigation into the art of tam-bour beading, specifically sourced from India, whereby the traditional craft is passed down through generations. This year, I was lucky enough to spend two weeks exploring India and its amazing industry of beading and embroidery. Prior to the trip I widely researched the viability of production through India and sourced various companies, fabric stores and wholesale markets to visit. This trip has not only exposed me to their amazing capability but has forced me to work and communicate in an industry based manner.

The intent Arthropoda is to present an aspirational body of work that explores adorn-ment through avant-garde applications of the investigated processes. The realization of a body of work which is not dictated by commercial viability, yet remains wearable, a free exploration of possibility. This would then provide the foundation for me to design a ready to wear collection that would embrace elements of the work within a commercial framework.

SPECIAL THANKS TOKaren WebsterGlen Rollason

Chris Murray at 3D SystemsKhalid at Daffodil Exports

Naomi Lonigro Warren & Ineka Fagg

IMAGE CREDITSp. zoe economides

m. maddy @ viviensmua. andres micich

h. karlose p