Joan was the last of the London Fashion Week presentations and comprised ninety-one different designs by McQueen. The starting point for that collection is the historical figure of Joan of Arc, who was burnt at the stake in the 15th century and those themes of martyrdom and execution take centre stage in the collection. This garment – a cotton and sequin T-shirt – is from a collection in 1998 called Joan. He first began experimenting with photographic print techniques in 1996 for the collection, Dante, which featured photographs by his friend and one of the World’s most famous war photographers, Don McCullin images made in Vietnam, as well as 19th century photographs from a colony for the blind. The object that I’d like to talk a bit more now is one of many examples from McQueen’s career in which photographs, either historic or modern, were printed on garments often in very experimental and complex ways. The starting point for that theatrical show was a famous photograph called Sanitarium by Joel-Peter Witkin. I suppose that VOSS, the presentation in 2001, would be the clearest example of that. Moreover, photographic images often provided the starting point for his spectacular catwalk presentations. He collected some fantastic photographs, which were hung and displayed with great sensitivity in his own home. He worked very closely with contemporary photographers on shoots but he also had a great knowledge of the history of the medium and was inspired to a great extent by photographic images in his own collection and in the books that he owned. The medium of photography played a really crucial role in McQueen’s creative process. V&A Curator of Photographs Susanna Brown discusses the use of photography in Alexander McQueen's work. Ignacio profundiza en la muerte y en su proceso, en el drama que signifca el conocimiento humanao de la misma. Nuestro cuerpo se alimenta de sustancias químicas orgánicas e inorgánicas que en parte se incorporan a nuestra estructura molecular y el resto se desecha.Ĭuando morimos nuestra materia orgánica se descompone para incorporarse al ciclo nuevamente Por tanto nuestro Yo también se incorpora al ciclo una y otra vez. Nuestro cuerpo esta compuesto de moléculas procedentes del Universo, en concreto de las estrellas que en su día estallaron como Novas y esparcieron su materia por el universo, carbono hierro, sodio, etc. Nuestro Yo recibe nuevos ”chasis” moleculares prestados, entramos a la vida, y mas tarde salimos y devolvemos ese chasis molecular para su reciclaje. Nacemos y morimos al igual que entramos o salimos de una habitación, así de simple. Y la mente humana que “mecaniza” la Naturaleza, son las claves de su trabajo. La mano del tiempo que hace que un objeto se transforme, que un ser que estuvo vivo se funda con las formas naturales y siga vivo eternamente. Las formas de la naturaleza que esculpen los troncos de los arboles, los huesos y músculos de los animales. Luz y sombra marcan ese dualísmo, del bien y el mal, la vida y la muerte, que se aprecia, en su obra. Ignacio rompe el blanco que representa la luz intensa y crea la sombra. El pensamiento se derrama por la superficie bidimensional que es el papel, y de ahí surgen los miedos y sueños.
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