Qianyang Kong

Part and Apart

Attempt To Be Sculpture

Knitted sculpture delineates the space in which two bodies dwell.

Body movement sway the threads that are intertwined in between sculptures, constructing the sculpture constantly.

In Collaboration with:

Attempt To Be Closed

Medium:

Shetland Wool, Silk&Stainless steel

Size:

Variable Size

Tension

In Collaboration with:

Model: Zoe Daley, Kalsy. Photographer: Kaipeng Tang

Medium:

Film, Knit Sculpture

Size:

Variable Size

dynamic handcraft knitted-sculpture short-film space

A formulation of the knitting structure

Partial Knit, Tubular, 10 gauge, tension 10 (maybe it's not accurate)

Partial Knit, 8 gauge, tension 11.5

Partial Knit, Reversible Circle, Tubular, 12 gauge, tension 9

Partial knit, 8 gauge, tension 11 –

Partial Knit, 8 gauge, tension 10

Partial Knit, 8 gauge, tension 10.5

Medium:

Shetland Wool, Silk&Stainless Steel, Tibet Wool, Monofilament

Size:

Variable Size

abstract handcraft knitting mechanism

I want a jumper that isn't a jumper.

I want to deconstruct the recognition of deconstruction in the fashion world that is so familiar in western society.

I want to deconstruct what you know about me.

I want to deconstruct a thousand year oppression that asks me to swallow expressions,

regulate behaviours, conform and be a person that I despise.

I don’t want to make something desirable since I don’t care if you approve of me.

I want a jumper that doesn’t have a neck-hole to put a head through.

I want a jumper that doesn’t conform to the human body.

I want a jumper that conducts the movement of the human body,

changes the thoughts of human beings.

I want a jumper that couldn’t be repeated in the fashion industry with its construction assembly line.

Medium:

Manifesto, Knit Sculpture

Size:

Body Size

knitted-sculpture spatial-narrative

Qianyang Kong is a multi-disciplinary artist who specialises in knitting. She sees knitting as a deconstructive performance that is saturated with revelation and concealment.

From her perspective, the distinction between art and design that is an artwork mostly speaking for itself without elaboration.

Continuous loops, subtle tension and tangled threads are composed of a dynamic space, metaphorizing inner part of herself. Her background takes her to where she is, empowers her to express what she speaks inevitably. She envisions herself as an activist in the future, and will potentially engage with the ancient Chinese craft that is devalued due to the racism and complicated domestic circumstance. She believes the language of craft can express her attitude towards the world. This expression is obscure, and this expression comes from artist's inner self-awareness.

Not all of the things that are attached with the body conjures up the concept of fashion. Bodies also as an underlaying structure activate a sculpture, giving a sculpture dynamics in limited time.

"Attempt To Be Sculpture" was Franz Erhard Walther's early oeuvre who insists the sculpture would exist for a short time, and persist only in the photograph.

Attempt To Be Close was part of her inner reflection and paid a tribute to artist Franz Erhard Walther, unravelling the interconnections in-between architecture and a piece of clothing. Architectural space was less a container for the body than an aspect of the body transformed (Tavernor, 2002). Oskar Schlemmer’s “theory of the reaction of the human body and costume is no less a theory of the relation of body and architecture” (Tavernor, 2002). In that case, architecture space is transformed by a number of interactive circumstances with human beings.

Qianyang Kong

In Collaboration with:

Medium:

Size:

In Collaboration with:

Medium:

Size:

Medium:

Size:

I want a jumper that isn't a jumper.

Medium:

Size:

Social

About

Royal College of Art

Qianyang Kong

In Collaboration with:

Medium:

Size:

In Collaboration with:

Medium:

Size:

Medium:

Size:

I want a jumper that isn't a jumper.

Medium:

Size:

Knoll Yarns Limited

Social

About

Royal College of Art