Sense Move Aṣọ Ijó láti ọwọ́ Zhulin Shi jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2020 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Àṣà Ìmúra, Aṣọ àti Ẹ̀wù.

FàdákàÀṣà Ìmúra· 2020

Sense Move Aṣọ Ijó

látọ̀wọ́ Zhulin Shi

Oníbàárà: Last Lab Inc.

Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Àṣà Ìmúra

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Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Sense Move Aṣọ Ijó

Sense Move jẹ́ aṣọ tí ń tan ìmọ́lẹ̀ tí a ṣe fún àwọn oníjó. Aṣọ náà ń kápọ̀ sí ìrísí jiọmẹ́trì tí ó ń tẹ̀lé ìṣípò ara, tí ó ń dá ère ìṣíkiri sórí orí ìtàgé. Àwọn àǹfààní ìmọ́lẹ̀ ń fi ìmọ̀lára tí ń yípadà hàn. Ìdínkù ìmọ́lẹ̀ lọ́ra ń tọ́ka sí ìmí, kí ìtànkálẹ̀ sì tọ́ka sí ìdùnnú. A fi ìbọ̀wọ̀ ọwọ́ tí ń mọ̀lára kún un gẹ́gẹ́ bí ara aṣọ náà. Nígbà tí ọ̀kan lára àwùjọ olùwòran bá fọwọ́ kan ọwọ́ oníjó náà, ìmọ́lẹ̀ ń yípadà ní ìdáhùn sí ìfọwọ́kàn náà. Ìlànà ìṣèdá náà ní àfojúsùn láti fún ìsopọ̀ ìmọ̀lára láàrin àwọn olùṣeré àti àwọn olùwòran lókun.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award

Sense Move Aṣọ Ijó jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Sense Move Aṣọ Ijó yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Sense Move Aṣọ Ijó jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: Sense Move costume communicates emotionally through the body movements of the dancers. The different light effects express the costume’s emotions; for instance, a slow fade is breathing, and a flash conveys excitement. It not only presents dynamic forms like a Kinetic 3D Sculpture, but also enable musicians and performers to improve their performance and enhances people’s experience of performances and expands the boundaries of the performance industry.
Ìwọ̀n àti Àpò: Width 70mm x Depth 30mm x Height 150mm
Àwọn Àkọlé: wearable technology, led lighting costume, kinetic sculpture
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: In the process of prototyping, sketching, draping, cutting sewing, sewing, soldering and programming have been applied.
Ìpèníjà Àpèsè: The challenge part is finding the form and concept for the costume design. I did many prototypes in different material and explore the movement part can create imaginary space to inspire dancer and grab people's eyes.
Ìwádìí: I love dancing. I started dancing from 5 years old. The costumes like Cinderella’s dress gave me confidence on the stage. In 2007, I studied contact improvisation in UC Davis with famous choreographer Nita Little. With the experience in dancing and choreography, I started to ask myself how can costume further link emotional experience to our mind. Nita Little wrote “the ‘mountain’ moves and the ‘cloud’ changes as a result. Notice how our attention travels across surfaces while your awareness may slip into the volumes they contain.” A common thread was found in my research, which is costumes can make a connection between movement, imagination and emotion.
I attempted to design costumes that serves the bi-lateral relationship between Poetic Design and the Pattern Language of Dance.
Ìmísí: With the experience in dancing and choreography, I started to ask myself how can costume further link emotional experience to our mind. Since that, I interviewed with a famous choreographer and dance artist – Yin Mei, whose wise words “I can create an architecture space using my joints, which is already telling a story” sparked my inspiration. My initial concept is about geometrical folding following along with the kinetic movement of the body.
Àkókò Iṣẹ́ Àkànṣe: The project original started in May 2016 for my MID thesis at Pratt. Sense Move costume has been applied and displayed in experimental workshops and a chamber opera in NYC. In 2016, I launched the “Sense Move” workshop featuring the renowned dancer and choreographer Yin Mei and violinist Wang Xiaotong in NYC. Since then, I and a collaborating guest artist Clarice Assad were invited to teach the experimental “Sense & Sound” workshop at the New Musical Instrument Hackathon 2016 at the Spotify headquarters in NYC. In 2018, I redesigned “Sense Move” Costume for a multimedia opera – Semulacrum.
Ìlànà Ìṣiṣẹ́: The different light effects express the costume’s emotions; for instance, a slow fade is breathing, and a flash conveys excitement. It not only presents dynamic forms like a Kinetic 3D Sculpture, but also creates new geometric space for the dancers. I designed “Sense” glove as a part of “Kinetic Sculpture” Costume. When a member of the audience touches the hand of a dancer who is wearing the costume, the light changes by sensing the touch as if the costume was alive. This will enhance the emotional transmission between the dancer and the audience, and even engage the audience to participant into the contact improvisation.
Ìfọwọ́sí Àwòrán: Image #1: Photographer Bengrong Zhu, Model Evita Zacharioglou
Image #2: Photographer Bengrong Zhu, Model Evita Zacharioglou
Image #3: Photographer Bengrong Zhu, Model Evita Zacharioglou
Image #4: Photographer Bengrong Zhu, Model Evita Zacharioglou
Image #5: Photographer Bengrong Zhu, Model Evita Zacharioglou