The downtown agency studioSPACE is planning an installation for Katie Gallagher's show.

LIGHTS, MYLAR, ACTION: Attendees at Katie Gallagher’s Feb. 9 “Hallow” show will also get a glimpse of two string and light installations, compliments of Studiospace.

The designer, who describes her own upbringing as “born between a farm and a forest somewhere in the United States,” will have 250-plus guests looking up at Projective Space on the Lower East Side.

Jacob Fisher, founder and lead artist at Studio Space, said, “As art, tech and fashion converge for this New York Fashion Week event, we hope to push the limits of each of these mediums, using simple materials like string and mylar, combined with high-tech projection mapping to accomplish this.”

At Gallagher’s show, there will be one string and light installation that will served as a passageway connecting the backstage area to the rest of the runway. Models will emerge from a scene of refracting light and thousands of white strings, according to Fisher. The second one will be set up in the airspace directly behind the runway, creating a backdrop for the models and setting the scene for the whole show. This piece will be “primarily white mason line, with subtle hints of black and vibrant orange” to coordinate with the cornerstone colors of the designer’s fall collection, he said.

A Rhode Island School of Design grad, Gallagher has always worked on her own. Her outlook is also individual, having said, “I don’t believe that fashion is the end goal; stories, personalities, moods, ideals and attitudes are. Fashion when executed successfully, communicates these attributes quickly and eloquently.”

Both pieces will have mapping projections of scenery and imagery that inspired Gallagher’s upcoming line. She and Fisher met through another installation artist Bradley Rothenberg, who has also worked with the designer in the past. Fisher and Gallagher teamed up through “a shared aesthetic appreciation of textures, patterns, and subtle, powerful detail. We both believe in reimagining what art can be, and where it can exist, to create something spectacular.”

The installation time should only take a few hours. Fisher explained, “We pride ourselves on creating art that’s modular, movable and flexible, so that we can use it for pop-ups or temporary events. We strive to portray this type of dynamic temporality in the aesthetics of the piece. The piece will only be there for the show and the after party. Once the main show is over, we’ll be altering the piece so that it becomes interactive and so that attendees can interact with the piece. We’ll be de-installing the piece that night.”

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