# Loise
NB::: Read and meditate this page https://princeclausfund.org/next-generation

# title: How my work has transformed to become a trans-disciplinary art practice.

I was part of the industry of fashion as a designer, working within the commercial sale of clothing as a brand. This changed when master education enlightened me, making me think differently about the industry, pushing me to research, to reframe the terms i wanted to be intertwined with clothing and contemporaneity. Through my making processes, I begun to ascribe to textiles a different power of transformation; to see clothing is materiality as a costume. Costume used within the role of wearability, transforms the sentient being, the human as a persona or other, by characterisation of dress.

​ [note: makes me think to the performance "undressing in one minute", http://www.loisebraganza.com/undressing]

Is a process that involves subtle forces of representation and goes beyond visual into transpersonal, multifaceted sensorial communication channels with deep roots. The expansiveness of this transformation of the other, the persona, unlocks to a larger pool of knowledge about the transient notion of identity.

Costume has become one of my methodologies. Is the key to the experience that unlocks my approach to other expression languages that I approach in my practice. Through the construction of costume, the enactments of collaboration through common research I question and navigate my experience of the contemporaneity of life I embody, to reveal deeper layers of meaning within a complexity of socio-economic cultural contexts, stereotypical prejudices and formed narratives. And to transcend them.

​ [note: a sentence about embroidery, from your perspective?]

I believe the understanding of the how and why of certain events brought forth through collaboration, compassion, solidarity and empathy is vital to this process of mutual identification.

Thinking through this quote by Rosi Braidotti, when speaking about nomadic memories and the self : “The type of remembrance is not identity bound or ego indexed, but rather impersonal and postidentitarian. It is linked to a radical process of de-familiarization or dis-identification from dominant representational and even self-representational practices. Remembering nomadically amounts to reinventing the self as other.”

(*) Rosi Braidotti, "put the quote here", with the ed. reference, and pp.

title: How my work has transformed to become a trans-disciplinary art practice.

I was part of the industry of fashion as a designer, working within the commercial sale of clothing as a brand. This changed when master education enlightened me, making me think differently about the industry, pushing me to research, to reframe the terms i wanted to be intertwined with clothing and contemporaneity. Through my making processes, I begun to ascribe to textiles a different power of transformation; to see clothing is materiality as a costume. Costume used within the role of wearability, transforms the sentient being, the human as a persona or other, by characterisation of dress.

​ [note: makes me think to the performance "undressing in one minute", http://www.loisebraganza.com/undressing]

Is a process that involves subtle forces of representation and goes beyond visual into transpersonal, multifaceted sensorial communication channels with deep roots. The expansiveness of this transformation of the other, the persona, unlocks to a larger pool of knowledge about the transient notion of identity.

Costume has become one of my methodologies. Is the key to the experience that unlocks my approach to other expression languages that I approach in my practice. Through the construction of costume, the enactments of collaboration through common research I question and navigate my experience of the contemporaneity of life I embody, to reveal deeper layers of meaning within a complexity of socio-economic cultural contexts, stereotypical prejudices and formed narratives. And to transcend them.

​ [note: a sentence about embroidery, from your perspective?]

I believe the understanding of the how and why of certain events brought forth through collaboration, compassion, solidarity and empathy is vital to this process of mutual identification.

Thinking through this quote by Rosi Braidotti, when speaking about nomadic memories and the self : “The type of remembrance is not identity bound or ego indexed, but rather impersonal and postidentitarian. It is linked to a radical process of de-familiarization or dis-identification from dominant representational and even self-representational practices. Remembering nomadically amounts to reinventing the self as other.”

(*) Rosi Braidotti, "put the quote here", with the ed. reference, and pp.

title: How my work has transformed to become a trans-disciplinary art practice.

I was part of the industry of fashion as a designer, working within the commercial sale of clothing as a brand. This changed when master education enlightened me, making me think differently about the industry, pushing me to research, to reframe the terms i wanted to be intertwined with clothing and contemporaneity. Through my making processes, I begun to ascribe to textiles a different power of transformation; to see clothing is materiality as a costume. Costume used within the role of wearability, transforms the sentient being, the human as a persona or other, by characterisation of dress.

​ [note: makes me think to the performance "undressing in one minute", http://www.loisebraganza.com/undressing]

Is a process that involves subtle forces of representation and goes beyond visual into transpersonal, multifaceted sensorial communication channels with deep roots. The expansiveness of this transformation of the other, the persona, unlocks to a larger pool of knowledge about the transient notion of identity.

Costume has become one of my methodologies. Is the key to the experience that unlocks my approach to other expression languages that I approach in my practice. Through the construction of costume, the enactments of collaboration through common research I question and navigate my experience of the contemporaneity of life I embody, to reveal deeper layers of meaning within a complexity of socio-economic cultural contexts, stereotypical prejudices and formed narratives. And to transcend them.

​ [note: I inserted a sentence about embroidery, from your perspective]

In the on-site research project "the Labourers Craft" my attention was on both the terms of the equation. I conducted my research inside the *karkhana* **(home workshop) of craftsmen living in Bandra East, Mumbai, India. It brought about a series of seven commissioned embroidered and a video work, accompanied by an essay “The Labourers Craft”**. In one of the seven "tasks" I tried to challenge the self representation of the highly skilled workers into shifting from the execution of a commission to the use of their skills for self representation asking them to execute a self portrait.

I believe the understanding of the how and why of certain events brought forth through collaboration, compassion, solidarity and empathy is vital to this process of mutual identification.

Thinking through this quote by Rosi Braidotti, when speaking about nomadic memories and the self : “The type of remembrance is not identity bound or ego indexed, but rather impersonal and postidentitarian. It is linked to a radical process of de-familiarization or dis-identification from dominant representational and even self-representational practices. Remembering nomadically amounts to reinventing the self as other.”

(*) Rosi Braidotti, "put the quote here", with the ed. reference, and pp.

- **Enactment I, The Self Embroidered Portraits** investigations of self expression of three embroiderers from a series of seven commissioned embroidered works. http://www.loisebraganza.com/voice-of-the-embroiderer

## Loise

Loise Braganza work expands through the lens of identity, body and the materiality of textiles.

Through an intermingling and exploration of costume involves a complex methodology that problematises different modes of garment production, the bodies wearing it and the space these occupy. Textiles (with or without body) becomes her dominant medium of expression. While the body, the wearer and costume become objects of artistic investigations a dialogue begins and thus is a point of departure as a legitimate site of critical inquiry. Her work emerges through collaborations with artists, solo performances, artistic and academic research and includes commissions from galleries, museums, theatre and film.

Currently living and working in Mumbai, India

## Tell us about your work

200 words

I work with clothing, textiles, writing, performance, video and mixed media in the realm of visual and performative arts. My work explores interpersonal relationships, identity, complexity of socio-economic cultural contexts, stereotypical prejudices, compassion and empathy.

In my work i want to use subtle forces of representation and weaving experiences from visual into multifaceted sensorial communication channels.

I believe that expansiveness of this transformation of the other, the persona, unlocks to a larger pool of key knowledge about the transient notion of identity.

Costume (in narrative, design, operational construction and performance) has become my main veicle of expression. I want to be able to expand this research towards multidisciplinary collaboration. The understanding of the how and why of certain events connected to identification (in a multifaceted, queer, different contemporaneity) allow to bring forth compassion, solidarity and empathy is the vital contribution an artist can give to these times.

## How would the Prince Claus Seed Awards help you in taking the next step in your career?

Starting out in the fashion industry as a fashion designer my work took a transformative turn after graduating with a Masters in Fashion Strategy at ArtEZ Institute of the Arts, Arnhem, Netherlands.

My Master’s education enlightened me, making me think differently about the industry, pushing me to research, and reframe the broather discurse around creativity, consumption, cultural appropriation and gender.
I now consider myself an emerging artist within a trans-disciplinary practice. An award from your institution would mean a lot to me, as a confirmation of my value for society.

I would use the money of the award to sustain myself through the necessary research that awaits me, allow me to collaborate with other artists in my network, travel to south india to search my next project and document professionally the research.

Mind atelier and studio equipment spaces to organise residencies_ >>>>

Awarding me this grant I will feel empowered as an indian woman beyond obsolete stereotypes, born an brought up in india, raised a catholic in a predominantly hindu country.

I feel the urge to contribute to a new world with stories that need to be heard, imagioning a story of liberation, were the craftsman embroiderer is and a labourer and a persona with a beauty and ingenuity and a value.
I feel entangled with these voices, I feel connected with the "unpresence" of queer identities as a un-domesticated norm, and the immense power of the transformative act of connection allowed by arts.

To be recognised by your institution would consist a big step forward in my career in what i strongly believe to be a key time in its development.

04 may 2021
How would the Prince Claus Seed Awards help you in taking the next step in your career?

Prince Claus Seed Awards will help me in building blocks to reach for new initiatives. Starting out in the fashion industry as a fashion designer my work took a transformative turn after graduating with a Masters in Fashion Strategy at ArtEZ Institute of the Arts, Arnhem, Netherlands.
Starting out in the fashion industry as a fashion designer my work took a transformative turn after graduating with a Masters in Fashion Strategy at ArtEZ Institute of the Arts, Arnhem, Netherlands.
My Master’s education enlightened me, making me think differently about the commercialisation of fashion, pushing me to research, and reframe the broader discourse around consumption, creativity, cultural appropriation and gender.
With my reorientation I now consider myself an emerging artist with a multi-disciplinary practice.
Where I stand with my work today, with an award from your institution would mean a lot to me, as a manifestation and confirmation of my value for society. I do take steps that are vulnerable moving away from a straight easy path to look within my mental atelier to step towards a materialisation and decisions to organise in my studio that which is currently place bound but also gives me space as an interactive artist, who needs to talk, with other artists in conversations, this for me is happening in small ways in steps. I have taken initiatives towards being a part of a collective practice of care the Hologram and L’Union Des Refusé to find new communication channels to create dialogue to shape and elaborate different needs within this COVID pandemic, with these interactions taking place online.
My work wishes to be trendsetter and prototype of changing labour utilisation and relations” _ Janwillem Schroffer

While the making of clothes are a visual impact I am navigating using other forms of visual aesthetics such as video, gifs, performance and photography to create my work. The Prince Claus Seeds Awards will therefore help me at this crucial time of my transition within my art practice where the visual form is being harnessed. The Prince claus see awards be help t break down barriers within my artisthood development, my