SECOND FIRST SKIN
PERSONAL SCARVES


OMER GAASH


Graphic design and photogrtapher, Focuses on branding and mapping environments with human bodies.


info@omgstudio.co.il 
www.omergaash.com
www.omgstudio.co.il
@omergaash
My motivation for this project comes from my‭ ‬professional background‭, ‬throughout the years I studied and practice in‭ ‬different fields such as Architecture‭, ‬Cartography‭, ‬Graphic design‭, ‬Photography‭, ‬and‭ ‬dancing‭. ‬But also‭, ‬from my personal way of life‭, ‬I‭ ‬grow up in a seaside town‭ (‬Kibbutz‭) ‬and as kids‭ ‬we used to walk to the beach at night for‭ ‬Skinny Deeping‭, ‬I remember how free and liberating it felt‭ ‬and how we didn’t make a big deal out‭ ‬of it‭, ‬each with its own given body‭, ‬no judgment‭ ‬no questioning about the act‭, ‬just us and nature‭. ‬I‭ ‬wanted to expend my practice in both photography and graphic‭ ‬design and create an experience that will combine these two‭ ‬passions of mine‭. ‬In my work I am looking to‭ ‬explore a way to create experience that will give my‭ ‬audience a sense of ownership and positive thoughts about their‭ ‬history‭, ‬territory‭, ‬and especially their body‭. 


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︎︎︎ More patterns (ig)

‬Positive future thinking is‭ ‬a more general and difuse term referring to the belief‭ ‬that good things will occur in one’s future‭. ‬We‭ ‬don’t ofteAn pay attention to the mondain‭, ‬that’s‭ ‬why it’s called this way right‭? ‬It’s the‭ ‬same as driving the same road every day‭, ‬some parts‭ ‬of the road we just won’t remember‭, ‬no recollection‭ ‬to what we’ve just past‭, ‬that’s routine‭. ‬The‭ ‬same with ourselves‭, ‬one day we just wake up realizing‭ ‬we don’t look the same‭, ‬we don’t climb‭ ‬those stairs as we used too‭, ‬our interests’‭ ‬changes‭, ‬goals‭ ‬take a new turn‭, ‬and our own skin and general‭ ‬appearance suddenly nothing like we remembered‭. ‬This realization can be‭ ‬for some paralyzing‭, ‬frightening‭, ‬for others just part of life‭ ‬with nothing to be alarmed from‭. ‬I relate to this‭ ‬topic from a personal place as I’ve always being‭ ‬aware to changes in my body and came to accept‭ ‬these changes‭, ‬especially because I’m taking self-portraits every‭ ‬now and then‭, ‬this helps me see and acknowledge changes‭ ‬in my body and allow me to decide whether I‭ ‬want to do something about what I see or just‭ ‬accept and move on‭. ‬People from the same culture often‭ ‬share values‭, ‬beliefs‭, ‬norms‭, ‬and self-construal that are relevant‭ ‬with regard to fundamental motivational processes‭. ‬We submit that these‭ ‬culturally shared thoughts may also underlie aging preparatory activities across‭ ‬adulthood‭. ‬For instance‭, ‬the salience of self and other-related‭ ‬utilities regarding aging preparation may depend on whether one construes‭ ‬oneself as a unique individual‭ (‬i.e‭., ‬independent self-construal‭) ‬or oneself as part of an encompassing social relationship‭.‬

Scarf - Garments are something that helps celebrate what we are proud‭ ‬of or conseil things we prefer not to show‭, ‬some‭ ‬won’t pay attention to outfit at all‭, ‬but I‭ ‬think it’s another way of showing they do care‭ ‬a lot about what people might say‭, ‬so much that‭ ‬they will just avoid the subject completely‭. ‬I’m focusing‭ ‬on specific individuals and their inter relationship with themselves and‭ ‬their surrounding but also see this in a broader way‭ ‬and talk about community‭, ‬human behavior‭, ‬and society’s norms‭. ‬In my project I’m using the scarf as the‭ ‬main craft of work‭. ‬Scarf is commonly seen in a‭ ‬party wear and as a specialty fashion accessory for the‭ ‬old age people to hide the skin fold and wrinkle‭ ‬near the neck region‭. ‬It can be used for a‭ ‬religious reason or community dress code‭. ‬This code can be‭ ‬preserved in deferent ways depending on the geography‭. ‬For example‭, ‬in idealized portrait of multicultural London‭, ‬clothing diversity plays a‭ ‬very significant part‭, ‬acting as visual proof of British tolerance‭ ‬and acceptance of ethnic and religious differences whilst‭, ‬at the‭ ‬same time‭, ‬naturalizing and reifying these differences in the process‭. ‬In America on the other hand the political map and‭ ‬demographic polls reveal a frightening perception aginst other’s ethnicity‭ ‬and visibility among them Muslims‭. ‬This escalated during Donald Trump’s speech in South Carolina in 2015‭ ‬that although was‭ ‬condemn as racism the polls showed how divided the American‭ ‬society is‭. ‬I will try to take the Scarf as‭ ‬a fashion accessory rather than a religion or political piece‭ ‬and so will show it in another context by avoiding‭ ‬using it as a head covering placing it as a‭ ‬personal identifier rather than an ethnical marker‭. ‬The focus of‭ ‬my project is more about the wellbeing of the individual‭.‬
The nude patterns reflect two maybe more period of times‭ ‬in my model’s life‭. ‬Then I will take portrait‭ ‬photos of the model wearing himself‭, ‬skin on skin‭. ‬Austrian‭ ‬architect‭, ‬philosopher and artist Friedenreich Hundertwasser in his article‭ ‬“The‭ ‬Five Skins of the Ecological Man”‭ ‬explain about The Five‭ ‬Skins‭. ‬Hundertwasser explained the connection between the individual‭, ‬the natural‭ ‬and social environments‭, ‬by referring to man's five skins‭. ‬His natural epidermis‭, ‬his clothes‭, ‬his house‭, ‬the social environment‭, ‬and the planetary skin which are all directly connected to‭ ‬the biosphere‭, ‬the quality of air‭, ‬water‭, ‬and soil‭. ‬The‭ ‬challenge is to be aware of the dynamic and integrating‭ ‬connections and relations between the individuals and their social and‭ ‬natural surroundings‭. ‬The First Skin‭: ‬Epidermis forms the outer layer‭ ‬of the skin‭, ‬creating a tough‭, ‬renewable‭, ‬water-proof barrier‭ ‬against the environment‭. ‬This is a dry‭, ‬technical explanation but‭ ‬the theoretical‭, ‬esthetic of this part is crucial to why‭ ‬I am choosing nudity and body to create these patterns‭. ‬To be aware of the epidermis is essential to experience‭ ‬nakedness‭. ‬Hundertwasser also criticized man's illit-eracy of perception‭ ‬and he revered radical affirmation of the right to absolute‭ ‬free-dom of individual expression a perception I relate to‭ ‬and see relevant to my project‭. ‬The nude photos I‭ ‬will use are a mix of staged photo and archive‭ ‬one that probably had very deferent intention while taken‭.  ‬I‭ ‬see this as a direct and looped connection between these‭ ‬two skins Hundertwasser is talking about‭. ‬In regard to creativity‭ ‬and individual self-expression‭, ‬I am looking to make something‭ ‬that is beyond conformism and uniformity‭. ‬The prepose is to‭ ‬be happy‭, ‬Happiness does not depend on production‭. ‬If each‭ ‬of us is creative‭, ‬we do not need to travel‭ ‬far because paradise is here in the moment‭. ‬Having this‭ ‬belief‭, ‬Hundertwasser designed clothes for himself‭. ‬By doing so he‭ ‬showed his individuality and authenticity‭. ‬Moreover‭, ‬the identity of each‭ ‬individual corresponds to the diversity and dissimilarity of clothing‭. ‬I‭ ‬chose to create for each participant its own pattern and‭ ‬print it on a scarf that is uniquely his‭, ‬The‭ ‬scarf is within society norm but the print is personal‭.‬


Patterns in textile has been developed for years‭, ‬they can be analyzed because they confine variations within identical‭ ‬motifs‭. ‬But this possibility recedes as soon as the pattern‭ ‬is made up of looser and more flexible classes and‭ ‬subclasses‭, ‬forming interlocking hierarchies‭. ‬When we turn to the larger‭ ‬hierarchies of a Persian rug‭, ‬we will find it hard‭ ‬to specify the interplay of similarity and difference which governs‭ ‬the design‭. ‬The stars and lozenges of the rug are‭ ‬related in colour and scale‭, ‬and the characteristic shape of‭ ‬their outline recurs in the border in a very different‭ ‬context‭. ‬Its motifs‭, ‬in their turn‭, ‬are also distributed over‭ ‬the ground of the central field with colours symmetrically altered‭. ‬In my design I will try to create these classifications‭, ‬similarities and connections basing the patterns on geometrical shapes that‭ ‬are definable‭. ‬Element‭ '‬a‭' ‬may be similar to‭ '‬b‭' ‬in‭ ‬one respect and to‭ '‬c‭' ‬in another‭- ‬so the design‭ ‬is interesting‭. ‬Skin in this case is my tool to‭ ‬manifest these patters‭, ‬a graphic tool that inspired by the‭ ‬epidermis‭, ‬he will be based on simple‭, ‬elementary techniques‭, ‬mate‭-‬rials‭, ‬and colors‭. ‬Just as the epidermis is a bridge‭, ‬art is also a bridge between man and nature‭.‬

I‭ ‬wanted to develop my project around patterns even before applying‭ ‬to my MA as I knew it can have the‭ ‬right visual DNA to express my ideas‭. ‬Man needs nature‭ ‬and its habitat to survive‭. ‬Small scale patterns of human‭ ‬texture represent layer of society and by playing with the‭ ‬scale of my pattern compared to the landscape or an‭ ‬object I reflect about that relationship and connection‭. ‬This connection‭ ‬can be abusive or co-dependent and symbiotic‭. ‬Patterns where‭ ‬in use for thousands of years‭, ‬the motifs change between‭ ‬cultures and the combinations and meanings are endless‭. ‬For example‭, ‬Pine‭, ‬bamboo‭, ‬and plum are known collectively as the Three‭ ‬Friends of Winter and are symbols of longevity‭, ‬perseverance‭, ‬and‭ ‬renewal‭. ‬The pine tree is an evergreen and lives for‭ ‬many years‭, ‬bamboo bends in the wind but never breaks‭, ‬and the plum is the first tree to blossom each‭ ‬year‭. ‬In Japan the plum is particularly favored for winter‭ ‬kimono as its use suggests that spring is not far‭ ‬away‭. ‬In the Edo period‭, ‬it was common to have‭ ‬room dividers in a lattice pattern‭. ‬Thin wood or bamboo‭ ‬was set horizontally and vertically to create this pattern‭. ‬It‭ ‬is said that Koushi is based off these patterns‭. ‬Koushi‭ ‬with thicker lines represents power‭; ‬thinner lines stand for elegance‭. ‬Each culture and each region over the years developed and‭ ‬embraced symbols‭, ‬shapes‭, ‬and meaning from things around him‭, ‬nature‭, ‬animals‭, ‬spiritual believes and more‭. ‬Different symbols were used to‭ ‬emphasize the connection between the person how wears the garment‭ ‬to its religion believes such as‭: ‬The star and crescent‭, ‬a polytheistic icon adopted during the spread of Islam‭, ‬and‭ ‬its use today is sometimes controversial in the Muslim world‭. ‬The Hamsa‭, ‬also known as the Humes hand‭, ‬the Hand‭ ‬of Fatima and the Hand of Miriam is a popular‭ ‬symbol found throughout the Middle East and northern Africa‭, ‬particularly‭ ‬within the Islamic and Jewish faiths‭. ‬Others are form of‭ ‬decoration like arabesque‭, ‬geometry‭, ‬and calligraphy‭. ‬In my pattern I‭ ‬will use the human body as the tool to create‭ ‬these decorations and give new meaning to the model and‭ ‬viewer‭. ‬By not basing my visual on known structure and‭ ‬norms‭, ‬but creating something new‭, ‬I hope to be able‭ ‬to release the model from its own restrains‭, ‬projecting something‭ ‬positive by creating esthetic he can wear and be proud‭ ‬of‭. ‬Since the elements creating the patterns are made from‭ ‬human body in different stages of his life the set‭ ‬of tools I’ll able to produce is limited by‭ ‬several parameters‭: ‬The model’s age‭, ‬his mobility and flexibility‭, ‬the model ability to listen to direction and other outer‭ ‬body parameters such as light condition and our photographer model‭ ‬chemistry‭. ‬Michael Kimmelman used the bulldozer to examine the relationship‭ ‬between art‭, ‬architecture‭, ‬and landscape architecture‭. ‬The connection is surprising‭ ‬because art is not typically thought of as being a‭ ‬priority in suburbia‭. ‬However‭, ‬the common use of the bulldozer‭, ‬and other everyday technologies‮—‬including automobiles‭, ‬televisions‭, ‬and fluorescent lights‮—‬in both realms reveals their shared interest and dependence on‭ ‬these devices and that what he is using in his‭ ‬work‭. ‬In relation to Kimmelman’s work I chose scarf‭ ‬as the linkage between the individual and society‭. ‬

To make‭ ‬the patterns‭, ‬or as I like to call them‭, ‬NudeTextures‭, ‬I had to direct the models at my studio the‭ ‬way I wanted them to appear‭, ‬I had to consider‭ ‬their physicality and ability and after understanding the limitations we‭ ‬started shooting‭. ‬Why NudeTexture‭? ‬The main subject is the naked‭ ‬body and as my background is graphic design and text‭ ‬as paragraph is also a texture‭, ‬I thought the combination‭ ‬reflects better on who I am as a designer and‭ ‬a person‭. ‬