Marceli Klimek

but bird is funny

Many of the ideas I put forward for Cuh Opilamonnia Rs were abstract and broad. I want to go into them specifically in future entries in this blog. This is somewhat backwards to how I should talk about this project because this entry is me reviewing my thought processes with information that you, the reader, might not be privy to. Now that this project is complete, there are many things I want to build on because a lot of the beliefs I made my design decisions on were tied to my life and personal experiences. These have proven to evolve since and deserve a resolution or alternate take. So much was everywhere and now I want to limit and contain it.

Making this project for a friend, for someone, communicating person to person. Art that excludes a majority audience to prioritise an individual can be for someone the artist knows superficially like a celebrity or a close friend or family member. With the former, true communication involving two parties or more doesn’t get taken advantage of. Your work connects with like-minded people who see the other party from your perspective either with the same level of knowledge about them or less. 

The way I understand it, this system allows for embroidery, specifically fashion, to be widely marketable to a demographic that likes a specific “subject,” and specific design choices are made or accepted to enable this. It’s a system that works, but other focused and unexplored relationship dynamics could work, too.

An attempt at working with this structure and incorporating new ideas meant that I went along with what I intended whilst employing design decisions within colour, texture and composition that I understood as monetarily popular and beneficial. In the spirit of Metamodernism, the metaphor of a pendulum swinging from one extreme of a concept to the other continuously. It would be nice to say I achieved this but I find it hard to prove that I did. I can prove that I wholeheartedly aimed my work at a singular individual with strong emotional bonds to me but not so much if a wide variety of people also enjoyed and understood my work. Success isn't guaranteed, so does the intent count? What is success measured by? My work has helped me understand my emotional bonds with people who are the subjects of this embroidery. There are a lot of opinions I'm not privy to either, from academic individuals as well as strangers and my contemporaries funnily enough because I have yet to explain this project properly to anyone in detail. A lot of things regarding this project worry me, it might be best to share and communicate them here. 

Communication is the groundwork for Cuh Opilamonnia Rs and it will be greatly expanded on in the realm of artist intent and reception. 

What I want to do now is to attempt to capture a different rhythm from the aforementioned pendulum. A smaller canvas, a t-shirt, simpler and planer with extremely dense and compact embroidery, opposite to the Cuh Opilamonnia Rs Over Coat but containing the same concepts and concentration of ideas. I feel that this encore of an outcome could reconcile some of the ideas communicating them once more, not as a replacement to the original but as an example of the endless variations a single project can contain and produce.