01: Prompt 2 // Design Inquiry
Design Question: How can design practices that utilize recycled materials foster a deeper connection to the origin of those materials, challenging traditional perceptions of waste while inspiring new models of sustainability and resourcefulness in art and design? This project explores the issue of waste and sustainability, positioning it as part of a broader inquiry into how art and design can contribute to environmental solutions.
01: Intro // Approach
The prefix "re-" comes from the Latin "re-", meaning "again" or "back." It is used to describe actions that involve returning to an earlier state, process, or position. In the context of this project, where I am recycling and reusing materials, the prefix underscores the cyclical nature of creation, where materials are brought back to their origin or essence, and then transformed into new compositions. The act of turning scraps of paper and fabric into collages invokes this sense of returning—not only to the material's origin but also to its potential for rebirth in a new artistic form.
For this project, I am creating compositions that explore the interplay of color, form, and texture, grounded in color theory literature and inspired by natural compositions that emphasize balance and harmony. I will integrate recycled paper and fabric scraps, including materials sourced from IKEA, to bring a tactile dimension to the work, aligning with principles of sustainability by re-purposing fabric waste. Through thoughtful arrangements that mimic the organic rhythms found in nature, these compositions will evoke a sense of calm and equilibrium. The final pieces will be framed as a cohesive collection, displayed on the wall to invite reflection on the origins of the materials and the possibilities of re-creation through sustainable practices.
01: Intro // Routine
Over the span of 12 days, I committed to a daily practice of creating one new composition each day. Every day, I approached the work with fresh thoughts, allowing my ideas to evolve as I integrated recycled paper and fabric scraps. This routine allowed me to explore new concepts in color theory and design, while maintaining a consistent connection to balance, harmony, and sustainability. Each composition was a reflection of that day's mindset and creative exploration, allowing for a steady progression of ideas and techniques throughout the process.
01: Intro // Practice
My practice involved engaging with recycled materials, particularly fabric scraps, to craft compositions inspired by nature's patterns and rhythms. Each day over a 12-day period, I focused on a new idea or visual concept, drawing from color theory literature and my evolving thoughts on balance and harmony. This deliberate, daily engagement with sustainable materials emphasized the origins and potential of reused resources, resulting in a collection that showcases the power of repetition, routine, and mindful creation.
02: Process // Within Literature
Each of these studies highlights how the prefix "re-" engages with ideas of origin, transformation, and sustainability—an apt connection to my project of using recycled materials to create new, meaningful works of art. The concept of returning to the beginning, while creating something new, reflects both an artistic and ecological practice.
In "From Waste to Resource: The Art of Recycling and Reclaiming." by Ghosh, Sahana: In her study, Ghosh explores the idea of recycling as a form of artistic and environmental activism. She argues that discarded materials, like paper or fabric scraps, carry with them histories and connections to their past uses. When these materials are reclaimed, they undergo a process of re-transformation—a return to their origins, but with a new purpose. By incorporating recycled materials into art, there is an acknowledgment of their previous existence, while also creating something entirely new. The concept of "re-" thus becomes both a literal and metaphorical return to origin, aligning with the themes of sustainability and ecological responsibility.
In "Re-Creation and Reclaiming in Contemporary Art." by Katz, Naomi: Katz delves into the artistic process, particularly focusing on how artists use recycled materials to recreate and reinvent. She highlights the prefix "re-" not just as an act of repetition but as an act of creation, one that connects back to the origins of the materials. In my project, where fabrics and paper collected over the years are reassembled, the act of reusing these materials transforms them while keeping the trace of their past lives. Katz argues that this process honors the materials' history and origin, while offering a chance to redefine their purpose in a new artistic context. This transformation is both symbolic and practical, aligning with themes of sustainability and resourcefulness.
In "From Waste to Resource: The Art of Recycling and Reclaiming." by Ghosh, Sahana: In her study, Ghosh explores the idea of recycling as a form of artistic and environmental activism. She argues that discarded materials, like paper or fabric scraps, carry with them histories and connections to their past uses. When these materials are reclaimed, they undergo a process of re-transformation—a return to their origins, but with a new purpose. By incorporating recycled materials into art, there is an acknowledgment of their previous existence, while also creating something entirely new. The concept of "re-" thus becomes both a literal and metaphorical return to origin, aligning with the themes of sustainability and ecological responsibility. In "Re-Creation and Reclaiming in Contemporary Art." by Katz, Naomi: Katz delves into the artistic process, particularly focusing on how artists use recycled materials to recreate and reinvent. She highlights the prefix "re-" not just as an act of repetition but as an act of creation, one that connects back to the origins of the materials. In my project, where fabrics and paper collected over the years are reassembled, the act of reusing these materials transforms them while keeping the trace of their past lives. Katz argues that this process honors the materials' history and origin, while offering a chance to redefine their purpose in a new artistic context. This transformation is both symbolic and practical, aligning with themes of sustainability and resourcefulness.
In Johannes Itten and Natural Tones in Color Theory: Itten’s color theory is central to understanding how natural tones can evoke emotional and psychological responses. In The Art of Color, Itten explores the subjective experience of color, particularly in how natural, earthy tones such as greens, browns, and muted blues can be used to create harmony in composition. These tones, which are prevalent in nature, have an inherently calming and grounding effect, which aligns closely with my work on creating compositions that mimic nature and strive for balance. Itten’s theory of contrast—contrast of saturation, contrast of hue, contrast of light and dark—offers a deeper lens through which I can explore how the recycled materials and scraps in my compositions interact with one another. His belief that harmonious color schemes, often rooted in natural tones, produce a sense of visual balance mirrors my goal of creating compositions that evoke balance and harmony. By integrating natural tones like those found in nature (hand-made paper or recycled paper), I am aligning with Itten’s emphasis on colors found in the natural world to inspire equilibrium. In Itten's practice, he also tied color to emotional expression, which links well to my daily practice of creating a new composition every day. Each color combination in my work can express a different aspect of balance or harmony, much like how Itten believed color could be used as a visual language for emotion and expression.
02: Process // Studio Space / AKA The Living Room
02: Process // Materials: Pieces from previous projects, collected over the years.
02: Process // Materials: Hand–made Paper
02: Process // Transparent Recycled Paper
02: Process // Materials: IKEA Visit
I went to IKEA one afternoon, wandering through the showroom, when something caught my eye. Attached to the sofas were small fabric samples, neatly draped over the edges. As I touched them, curiosity sparked—could these be available to customers? I decided to inquire, approaching a kind IKEA staff member in the sofa department. She smiled warmly as I asked about the samples and led me to a closet hidden behind the display, filled with tiny boxes of fabric swatches.To my surprise, she explained that they no longer give them out because no one asks for them anymore and invited me to take as many as I wanted. It felt like discovering a hidden treasure—swatches that were once part of mass production now had a new potential for creation.
This moment sparked the sustainability theme of my project. Instead of letting these fabric pieces go to waste, I saw an opportunity to re-purpose them into something meaningful. By taking what was overlooked and transforming it into art, I am not only extending the life of these materials but also embracing the idea that sustainability can start with a simple, everyday decision—choosing to reuse rather than discard.This experience reminded me that sustainability is about recognizing the value in what already exists and re-imagining how it can be used to create something new and purposeful.
03: The Solve // The 12 Frames
03: The Solve // The 12 Frames: Close-Ups
03: The Solve // What’s Left? + Re-cap
03: The Solve // Reflection
This project represents a profound dialogue between nature, creativity, and sustainability, where slowing down and reflecting on the beauty around us becomes an essential part of the design process. By working with handmade blue paper symbolizing the vastness of the planet and using natural, found materials like wood from alpine environments and rivers, I seek to embody the principles of care, connection, and intentionality as proposed in the Earth Logic framework. The project invites us to rethink how we engage with materials and the environment, fostering a deeper sense of belonging and responsibility toward the natural world. Through this practice, we are reminded that true innovation in fashion and design lies not in constant production, but in the details we notice when we slow down, allowing us to reconnect with nature and create meaning in every step of the process. This work challenges the fast-paced fashion industry by offering an alternative path—one that values sustainability, regeneration, and the beauty of the natural elements we too often pass by.
Prompt Question:
What details in nature have you encountered that might normally go unnoticed, but when you pause and slow down, reveal a beauty or connection you didn’t see before? How can these natural elements, often passed by, inspire you to reflect on the importance of slowing down in your own creative or everyday practices?
re–generate // re–imagine // re–store // re–use // re–cycle re–purpose // re–invent // re–juvenate // re–vive // re–new re–claim // re–make // re–design // re–configure // re–assemble.
04: Resources // References
1- "Re-, Prefix." Oxford English Dictionary, Oxford University Press, 2024, www.oed.com/view/Entry/164649.
2- Ghosh, Sahana. "From Waste to Resource: The Art of Recycling and Reclaiming." Journal of Sustainable Design, vol. 12, no. 3, 2021, pp. 213-230.
3- Katz, Naomi. "Re-Creation and Reclaiming in Contemporary Art." Art and Sustainability, edited by Maria Johnson, Routledge, 2019, pp. 145-168.
4- Baldwin, Janet, and Sally Spencer. "Recycling and Rebirth: The Role of 'Re-' in Contemporary Art Practices." Environmental Art Review, vol. 14, no. 2, 2020, pp. 95-112
5- Itten, Johannes. The Art of Color: The Subjective Experience and Objective Rationale of Color. Wiley, 1973.
2- Ghosh, Sahana. "From Waste to Resource: The Art of Recycling and Reclaiming." Journal of Sustainable Design, vol. 12, no. 3, 2021, pp. 213-230.
3- Katz, Naomi. "Re-Creation and Reclaiming in Contemporary Art." Art and Sustainability, edited by Maria Johnson, Routledge, 2019, pp. 145-168.
4- Baldwin, Janet, and Sally Spencer. "Recycling and Rebirth: The Role of 'Re-' in Contemporary Art Practices." Environmental Art Review, vol. 14, no. 2, 2020, pp. 95-112
5- Itten, Johannes. The Art of Color: The Subjective Experience and Objective Rationale of Color. Wiley, 1973.