The area of investigation for this project will only focus on the representational image of form, colour and shape of the native orchids I have chosen to focus on rather than replicating its exact image. I intend to create a story through my design which incorporates change. These will be represented on the life cycle of the orchids. The first costume design will be created as life-like then will slowly change, leaving stylized form and shape then losing its life. There is an inbuilt message of hope on this concept –this will be represented with a new growth of an orchid. Its materiality will manifest through aesthetic and imaginative interpretation of the costumes where elements of colours, form and shape inspired by the Spider, Helmet and Bearded orchid will be based upon. This concept is fuelled by my ongoing involvement with environmental groups and by creating these designs will significantly heightened community awareness that these species are threatened by climate change, loss of habitat and human impacts.

1. Form, colour, shape

2. ARTIST BIOGRAPHY Jelina Haines was born in Manila, Philippines in 1970 and migrated to Australia in 1997. She holds a Graduate Certificate in Business Information Management (Archival & Preservation Management), a Bachelor of Arts (Interdisciplinary Visual Arts) and a Diploma in Community Cultural Development (Dip.CCD). She is currently undertaking two degrees in Master level – Master in Management (Arts & Cultural Mgmt) & Master of Business Information Management at University of South Australia. Her first introduction to the art world in 1998 happened out of necessity and her longing for sense of belonging to a new country. She immediately found solace and reassurance through her artwork. The Government House of South Australia became a familiar place for her when she excelled at year 12 level, achieving 5 perfect scores, the most memorable year was when she achieved 3 perfect scores at year 12 level and received her award from Her Excellency Governor Marjorie Jackson-Nelson AC CVO MBE. Jelina Haines has blended the processes of Contemporary, Postmodern and Conceptual Art, and with craft-making of her own unique design. Her work explores the contemporary fascination of raising environmental awareness through her works and her desire to use art as catalyst to raise gender equality and equal rights for women and cross – cultural understanding. Jelina Haines describes herself as an interdisciplinary visual artist - specializing in Textile Art & Wearable Art making, Environmental Art, Wildlife Costume Designing and Project Management. She added that her artworks are inspired by the beauty of Australian surroundings, and its diverse ecosystems; and major events that happened in her life, especially her involvement with various environmental groups and NGO's. The association and qualities of her artworks and their evocation envelopes every inch of her artwork and are directly linked to traditional knowledge of weaving that has been passed on by Elders. Furthermore as she continues to describe her works, each element evokes a metaphor as a woven image using threads, paints and fabrics to create an astonishing palette of colours and textured surfaces. The result is rhythmic stitches that produced an integrated figurative form of images and well blended colours which entwine with knowledge and story to tell a deeper story. Her artworks illuminate processes that are inherently multidimensional, creative, interactive and dynamic. Since her first solo exhibition in 2005, Haines has exhibited extensively around South Australia, interstate and a selective group digital exhibition in London and USA. The highlights of her career were when she collaborated ‘The Golden Tapestry Project’ with the Millennium Tapestry Company P/L, (England) with the Commonwealth country Australia and ‘Gawler Primary School’, South Australia. The purpose of the project was to celebrate Her Majesty the Queen's 50 years as Head of the Commonwealth and the finished tapestry was exhibited along with other tapestries at Melbourne during the Commonwealth Games 2006 and the final exhibitions of the tapestries will be exhibited at Delhi, India the next host country for the Commonwealth Games 2011. Jelina’s artworks are held in private and public collections both in overseas and Australia. She recieves numerous nominations awards and in 2008, was one of the Nominee for The Governor’s Multicultural Awards 2008, South Australia, S.A Great Regional ‘Commendation Award’ in ETSA Utilities under the Arts Categoryand Zonta Women of Achievement Award Winner in Arts Category, Gawler District, South Australia. Her work had been professionally reviewed and published in newspapers and one of her artworks attracted one PhD student’s attention and included her artwork story as part of a thesis. Jelina Haines lives in Gawler, South Australia with her family and mainly works in regional areas in South Australia.

3. ARTIST STATEMENT For the past five years studying art professionally made me realize how important art practices are for my self expression, communication, exploration, imagination, cultural and historical understanding. Being a practising artist I am passionate about what I do and I use art as a catalyst to influence my viewers. Art is not just for the aristocrat and for those who can afford to buy artworks from will known artists. Art is for everyone and I hope that this presentation will show the underlying message that each costume projects. Each costume in this presentation is aimed at raising environmental awareness and with the Environmental World Summit 2009 at Copenhagen this costumes reinforces the need for global action of climate change and letting the viewers be aware with their own environment . These costumes are aimed at projecting elements of shape, form, and colour of my chosen fauna. During the creation process of these costumes helps me to find my way and realized that art is truly what keeps me going. When I am feeling down and out and all the everyday frustrations of the academic world it affects me and I felt that I need to hide and never go out from my hiding place. Seeing the final outcome of the costumes reminds me that life is full of so many levels, shades, new mixes of colours ready to be discovered, it feels like going for a new adventure with the company of my trusted mannequin and my sewing machine, to experience growth, wonder and transformation. I feel at my most empowered when I create art. It builds my self-esteem, helps me to uncover more things about myself and reinforces my connection to the creative spirit of the world. These costumes illuminate processes that are inherently multidimensional, creative, interactive and dynamic.

4. Form , colour and shape: creation of a costume based on Australian Native Orchid “Establishing an approach that will unify theory and practice in the area of costume design through the research and study of the cultural significance of costume, its relationship to aesthetic theory and, most importantly, the role of costume as a centerpiece of narrative and storytelling. …. Stated by Philanthropist David C. Copley” (ref. http://www.tft.ucla.edu/news/announcement/450-copley-costume-center_donation/) The title evokes the interesting relationships between form, colour and shape in costume designing , and its thematic surrounding that can be explored. These relationships of “figure / ground” or “positive / negative” spaces interplay and become one. Australian Native Orchids are as diverse as any other native flora, therefore it is my reason to only focus on 3 species to based my costume design on. This species only seen at Kangarro Island, SA 3. Copper Beard-orchid (Calochiluscampestris) ref.http://hvbackyard.blogspot.com/2007/10/32-more-spring-orchids.html King Spider – Orchid (common in SA) (found at Hale Conservation Park SA) Caladeniadeformis © Malcolm Haines 2006 This species only seen at Kangaroo Island, SA) 2. Corybasdilatata(Veined Helmet Orchid) ref. http://www.retiredaussies.com/ColinsHome%20Page/Orchids.htm All information, designs and artworks featured on this presentation are copyrighted by the artist and other information included are reference according to copyright law.

5. AREA OF INVESTIGATION The area of investigation for this project will only focus on the representational image of form, colour and shape of the native orchids I have chosen to focus on rather than replicating its exact image. I intend to create a story through my design which incorporates change. These will be represented on the life cycle of the orchids. The first costume design will be created as life-like then will slowly change, leaving stylized form and shape then losing its life. There is an inbuilt message of hope on this concept –this will be represented with a new growth of an orchid. Its materiality will manifest through aesthetic and imaginative interpretation of the costumes where elements of colours, form and shape inspired by the Spider, Helmet and Bearded orchid will be based upon. This concept is fuelled by my ongoing involvement with environmental groups and by creating these designs will significantly heightened community awareness that these species are threatened by climate change, loss of habitat and human impacts.

6. Costume Design 1: based on Green Hood Orchid Design Description: Artist/Designer: Jelina Haines Date: 2009 Size: 8 (height of the model should be 5’2 or 5’3) Medium: Full - length textile costume Model: my old trusted mannequin (without her it will be impossible for me to sew the costume) Colour: Olive Green Materials: the hood is detachable so it can be worn without the hood. 75% satin and 35% polyester fabric, light open – weave canvas (in between the satin and organza) and lined with organza fabric, heavy duty binding bias along the hemline, and vacramé fabric. Washing Instruction: Dry clean – due to other components of materials used on this costume

11. Detailed images

13. Costume Design 2: based on Veined Helmet Orchid Design Description: Artist/Designer: Jelina Haines Date: 2009 Size: 8 (height of the model should be 5’2 or 5’3) Medium: Full - length textile costume Model: my old trusted mannequin (without her it will be impossible for me to sew the costume) Colour: Red Burgundy with distinct white around the neck area Materials: the hood and teeth -like collar are detachable. Hand painted using fabric paints so the colour will not wash, using 100 % linen lined with light open –weave canvas, heavy duty binding bias along the hemline, and vacramé fabric. Washing Instruction: Dry clean only – due to other components materials used

17. Designed based©jhaines2009Pastel Drawing (147 X 105 cm)

18. Costume Design 3: based on Copper – Bearded Orchid Design Description: Artist/Designer: Jelina Haines Date: 2009 Size: 8 (height of the model should be 5’2 or 5’3) Medium: Full - length textile costume Model: my old trusted mannequin (without her it will be impossible for me to sew the costume) Colour: mixed (representational colour of the species) Materials: using 100% recycled neck - tie’s Washing Instruction: Dry clean only – due to other components materials used This design is intentionally created to project the form, colour and shape of the ‘Copper – Bearded orchid’. The uniqueness of this design is the provenance, meaning each neck – tie belongs to someone and some of them has it’s name i.e. School, brand design, logo of the company who produced the neck – tie. Although these people are not presence to join and to raise their concern about environmental issues.

19. Coloured Pencil Drawing (design based)

21. Detailed images

23. I hope you have enjoyed my presentation and inspired you that art comes in many medium and its up to us of how we used our creative talent. When the time comes that this costumes undergo preservation and provenance, archivist or scientist will be able to extract my DNA due to many drops of blood sink in each costume for the reason that I keep stabbing my fingers with the needle pins. These costume always reminded me the of David Copley’s message that in order to unify theory and the practice of costume designing is to establish an understanding the relationship between aesthetic approach of theory and understanding the role of costume as a centerpiece of narrative and story telling. -------- © Jelina Haines---------- 12 December 2009