Intercultural Landscapes

Like most of my projects, the completed Cowal Kimono quadriptych panorama emerged through a creative practice centred on dialogue with the divine, biblical research, reflective analysis & applied imagination. It is a theopoetic approach to visualising the lived experience of theological doctrines, in this case the bride of Christ. Seen in the light of the book of Revelation the piece visualises not only a wealth of diverse ethnicities and cultures but the decolonised Bride thriving not through fusion but because of the uniqueness of ethnic diversity.

Cowal Kimono weaves together a symbiotic identity inspired by the colour-filled seasons of Scotland’s stunning Cowal Peninsular with the Kimono as the traditional national dress of Japan, whose surface design is traditionally based on nature. For me exploring community & ethnicity through the closeness and individuality of clothing, weaves together our internal and actual journeying as a globalised society (forced or chosen), with the concepts of roots, belonging, journeying and displacement, and the idea of being from more than one place. 

Each piece of fabric used is part of my own collection and mostly upcycled, including vintage 1950's suiting fabric from my grandmother and 1960's silk chiffon, scraps from a party dress in which my mother is photographed with the essential babysham; pieces of fabric found on my travels; and much of the ribbon left over from one of my degree show pieces. These varied textures and colours, usually used for distinctly different makes, demonstrate the wonder of Cowal Kimonos diversity, what South African cellist, Abel Selaocoe says of his music, ‘this is not a fusion. It’s actually an opportunity for different places to live [and thrive] in the same space’.

This visualising of ethnic & cultural identity also shaped my Masters degree which can be seen particularly in a piece called Woven.