Access as noun or verb, is a diplomatic way of talking about control and being controlled. “The ability or right to approach, enter, exit, communicate with, or make use of.” It serves as an opening to a search, or an adventure into the new and unknown, by being given permission. You don’t give yourself access, but are given access. You are granted the liberty of communicating with the person, subject, or object at hand. The verb and privilege is an intense responsibility that calls into question, ‘what next?’ In this level of intensity, comes frustration, subjectivity to reactions and happenings that occur afterwards. It involves a certain aspect of time as well; there is a wait, pressure, attentiveness to time and patience, with a burst of involvement, opening and possibilities. There is someone else involved, an unknown that you might also be in search of. Almost as a temporary feeling, and gist of emotion that you can’t grasp eternally. It is retracted from your hands instantly. A two-and-fro of emotion, motion, and frustration. 


It all started with jewelry...

Our bodies are curious sensory tools that instinctively touch to understand. When an object is introduced, the body reacts both internally and externally to its materials, form and function. By focusing on sensory and visual responses of the body through fabrics and silicone, I investigate how our experience of wearing, can heighten our awareness of our senses and skin. 

Jewelry pieces are designed to rest on (or around) designated parts of the body, as apparel is designed to house the human form. By looking more specifically at the qualities of necklaces and garments, I saw their openings as invitations for the head and hands, waiting to enfold the wearer in an experience. Taking inspiration from collars and pockets, but ridding them of pre-conceived associations, I minimized the form of the open space into a dissociative form of a tube. The tube became an anchor for the criteria in Tube Series 1 + 2, giving me the freedom to test material combinations and proportions. By proposing a different sensory experience in each piece, silicone became a dominant material to engage the wearer, reminding them of their skin. These tubular modes of entry aim to remind the wearer of their senses and their skin, in a larger motif to honor the body. 

This body of work is a result of my Part II Degree Project (Thesis) at the Rhode Island School of Design, 2015.

To read my full Thesis, click here.