vitality process
In the spring of 2022, I discovered The Visible Human Project. The VHP enabled a new understanding of human anatomy by taking two cadavers (one female and one male) and creating a database with CT, MRI, and (most notably) cross-sectional cryosection images. The data base for the visible man was released in 1994 followed by the release of the visible woman in 1995. In 2019, the databases became accessible to the public without a license.When I was offered a position at the Fabric Workshop and Museum as a summer High School apprentice, I knew I wanted to use and honor the images I fell in love with.
After looking through the database, I decided to use images from the Visible Woman cross-section set. I was drawn to this set for two main reasons. Firstly, I couldn't get over how floral they looked. I wanted to connect the very sterile world of internal medical imaging to the organic world, and florals were a perfect avenue. Secondly, I found the process of obtaining the images, though grotesque, fascinating.
The entire body was encased in a blue gel and then sliced head to toe in 1mm intervals in a process not too dissimilar from that of slicing deli meat. Each millimeter section was photographed and cataloged. This left us with an incredibly detailed, colorized view of the human body that could be widely shared for decades to come.
I ended up using four images: one from the head, thorax, abdomen, and thighs. I took each image and translated it into florals on paper- focusing on the shape of the organs, muscles, and soft tissue. I then took the four florals, cut them out, and arranged them in their correct anatomical position. In order for the pattern to repeat, I needed to fill in the space on one side in a way that would lock into the other side for a seamless repeat. I decide to use vertical cross-sections of the heart and face to do so as they would be slightly more recognizable but would still blend in with the rest of the pattern. I translated the heart and the face through the same process as the other cross sections and placed them next to the "body".
Once I had the bulk of the pattern, I traced it with a blue pencil onto the final mylar. After tracing the main components, I added a vine that runs the height of the screen to act as a final connector or the "skin". Finally, I hid seven figures in various asanas throughout the design, following the curves and crevices of the "body". I traced the finished design with a combination of marker and India ink so it would be completely opaque and transfer onto the screen.
After burning the screen, a process in which a screen is coated in a light-sensitive emulsion and then exposed to UV light, I printed my pattern onto fabric with the help of my fellow apprentices and supervisor. I started with a solid ultramarine blue and then ventured into the world of split fountain with a pink/orange/yellow colorway and a shades of red/orange colorway. After some drying time and a spin in the dryer, my yardage was complete
The apprenticeship culminated with a reception where I was able to explain this process to an audience and then do a printing demo. I am incredibly grateful for my time at FWM and could not recommend the apprenticeship program more. You can learn more about the program here!
