N A R A N Č A S T O   or   O R A N G E

concentrates on problem of color orange's rare use in contemporary fashion design because of the connection with anti-fashion garments.


It's a result of studying symbolical meanings of things and objects found in western civilization and their purpose of stigma and signalizing out-of-orderness. Unisex garments are proposed as a product of admonitory and unified individual.

​

O R A N G E is a final thesis collection by MARSOLINI for MA program of Fashion design at Faculty of Textile Technology in Zagreb. It consists of 7 outfits and a theoretical part written in terms of fashion theory.

 

The thesis was mentored by mr. art. Jasminka Končić and realized in September of 2017, with a help of SofijaSilvia, Matej Vitasović, Kasja Borić, Leda Kajfeš, Andrea Pliško and Dora Tominić.

Photos by SofijaSilvia.

ORANGE

Eye's scream

bubble tile

Year: 2020
Medium: sculpture and photography | silicon, pigment, piano finish taper wood base, metal print (dye-sublimation printing on aluminum)
Dimension: approx. 6 x 6 x 4½ in, including the base (sculpture), 11 x 17 in each (photography)

Fingerprints is a silicone sculpture that captures an imprint of my hand in an aim to reflect unrest in response to immigration and racism.

My name, 林嘉貞, was left behind in my native country of Taiwan the moment I entered the U.S. Customs and Border Protection building. I immediately became another person once I entered U.S. territory. In the U.S., I insisted on not having an easy-to-pronounce English name; instead, I kept my translated name, Jia-Jen Lin—which, however, has often been recognized to be Chinese due to the pinyin system I chose to use 19 years ago. Having my fingerprints taken at Customs represents my knowledge that I will always have to press my fingers harder; otherwise, the immigration system will not recognize me as a legal immigrant who has become an American citizen through naturalization.


Fingerprints

Photography, image from ongoing series, inkjet print, 58 X 37 cm, 2021

Untitled


The work consists of a grouping of 18 replicas of cosmetic containers, made of porcelain and screen-printed with fragmented images of the artist's eyes. Including these images, metaphorically, alludes to the idea of closing the eyes to stop seeing problems around.

Out of sight, out of mind

ON BOARD

digital painting, digital drawing and collage 25 x 37" printed on archival paper

Box Breath

31 years have passed since the fall of the Berlin Wall. The political, ideological, and in some cases physical frontier not only divided Germany but the entire world into two axes; one of capitalist character and his nemesis, the communist.

Today the physical Wall does not exist, but there is an invisible one that continues to divide the country, and it can be measured in wages, infrastructure, education, unemployment; political and economic differences that tip the balance in favor of the West. 

A barrier that has been reinforced thanks to the global financial crises that have occurred in recent years, widening the gap between rich and poor, ending the so-called middle class.

The idea behind this work is to attest to this reality that is still in force today, through the study of the landscape, both urban and human, to show that division that is still latent between the western and eastern parts of Berlin, taking the German capital as an example of what is happening in the country.

"The Invisible Wall" Ernst-Thälmann-Park, Prenzlauer Berg, Berlin (2021) 

Acrylic, blowtorch,ashes,charred paper and printer/toner ink residue on board

64x60x3

2021