The beginning of a new semester in the wake of the one past always begins with a scramble for ideas. What was interesting and innovative last semester MUST be improved upon and new artists uncovered to advance my personal practice. It's a race against time, with the finale in sight. 

Having explored PPE and gender data bias last semester, briefly making textile samples to conclude this chapter in my research, I have decided to push this area and explore a specific area of fashion that accommodated women's bodies and interests. Sportswear evolved from the American fashion market to counteract the restrictive fashions that were produced in Paris and slowly infiltrating to Western fashions. 

At the healm of the mission was Bonnie Cashin, a designer who emphasised the practicality and democratization of fashion to transmute utility into luxury. Cashin became famous for her approach to designing for mobility, gaining global inspiration from East Asia and translating the fluid forms of kimonos and capes into loose fitting, layered sportswear items that 'articulated with the body'. 

Thinking through Cashin's work and the prospect of creating a lookbook to suggest the garments I may create, I decided to consider ways in which I could make physical outcomes when materials are not to hand. So, I decided to return to the subject of my degree and paint. 

Referring to artists that have influenced past strands of my practice, I turned to Meghan Cox and Michael Borremans to consider the medium of paint as a means through which to translate the following themes:

      Women in science - healthcare - textbook education - warzone - frontline - temporary architecture - coronavirus hospitals

Working with paint, I wish to draw upon the legacy of influential female figures in healthcare, relevant to the current situation, such as Florence Nightingale and the memorial hospital erected to tackle Covid cases in London. With hospitals overrun with cases and descriptions of the wards as being akin to 'warzones', I want my paintings to become portraits imparting to the viewer a sense of containment to aid the feeling of the isolation of the subjects. 

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