Senior Focus: Lynn Thonet

Hello I’m Lynn!

I think of my art as relationships and my costuming as the unseen realities that exist in our day to day lives, but come forward and flourish in our subconscious and dream realities.

Lately I’ve been working in costume, character design, set/environment design.

My practice wandered for a bit, but it has become more focused after I took a trip to visit my good friend in New York City this last March. When we went to the MOMA during the Cindy Sherman exhibit, I was overwhelmed with this feeling of insignificance and realized the importance of effort. I saw the scale and rate she was producing this work, how much she cared about it, and I realized the amount of work I was going to be required to provide if I wanted to get anywhere. Art school always seemed to be this game of who can look like they are working harder and how much work can do with the least amount of energy. After being dwarfed by her sundry of portraits, I returned to school and changed my entire practice. If I couldn’t get it done in school, I knew I wouldn’t be able to work in real life.

 When I feel like I art is pointless, and I am wasting my life, I look at the work of June Nevin, Johan Ku, Eiko Ishioka, David Hockney, Jim Henson and Noel Fielding.

Lately, I’ve been looking at past beauty figures

and events with strong emphasis on personal experience such as ritual and sex.

Since most of my work comes from personal experience and subconscious, I keep track of my ideas through a dream journal and free writing, and I am a huge advocate of taking notes throughout the day. I believe those dreams, daydreams and “what ifs” are the blur between our conscious and subconscious, and the purest examples of who we are.

 I’m not quite sure if I have a very constant aesthetic . Some of my pieces are glow in the dark while others are based in organic fibers. I feel like my pieces match in their craft and texture. I am a fan of zigzag stitching as an edge finish, but I prefer the more elegant French seam for interiors of garments. I am a fan of huge chunky yarns. I use lots of layering and appliqué texture, whether it is sewing ruffled layers of canvas strips on to a jacket, or latch hooking hundreds of strands of yarn on to a cape. My aesthetic references burden and anxiety.

My weaving work explores animal totems and sexual relations. 

My past costumes approached the duality of existence.

These are my current costuming adventures.

Collaborative installation with Jessica Ricketson in the Corridor Gallery

My personal blog

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