Wearable Art Q&A: Artist Rosalinda Ainza
Capital City Weekly
CCW: How many wearable art shows have you participated in?
RA: This is only my second show but I was infatuated immediately.
CCW: What motivates you to participate in this event?
RA: After reading about the theme of last year’s “Juxtaposition” in the Empire I decided to give it a try. I elected to use the stage as a platform to share a message. Everyone, from the producers to the participants to the attendees, were all incredibly supportive. The creative process all the way through the main event was so inspiring that I just had to participate again this year.
CCW: In last year’s show, your piece “Conflict,” modeled by Marianna Carpeneti, was one of the most intriguing designs to cross the stage. Can you briefly describe how you came up with the idea for that piece?
RA: After spending the previous winter working in East Africa, I returned to Juneau with resolve to share messages from the region. With the stage as a tool for my voice, I chose to create a protest piece on conflict minerals. It could be viewed as shocking or bellicose with the use of a photograph I’d taken of a young boy in Rwanda, however I felt that was needed to underline the message and theme.
CCW: Does this year’s piece reflect any political/social issues?
RA: After last year I pledged to myself that as long as I participated in Wearable Art I’d utilize it to speak up for critical issues. This year’s piece speaks to the grotesque use of social media to convey hateful messages. More specifically, it underlines the prevalence of victim blaming and shaming of women who have been sexually assaulted.
CCW: What materials did you use to create your piece this year?
RA: The piece is made from synthetic leather, metal, glass, wire, feathers, and original Twitter posts that depict asymmetrical scrutiny towards rape victims.
CCW: How much trial and error was involved in getting it to work out the way you wanted?
RA: It was trial and error all the way! I went through various bottles of glue, staples, oddly shaped sewing needles, you name it. Neither laminated paper nor glass mosaic tiles are very kind.
CCW: How much do you think about the performance aspect of your piece while you’re creating it?
RA: I feel that the model makes the piece. Marianna Carpeneti did a wonderful job creating movement for my design last year. She is my muse and confidant, and she truly invoked the message I was hoping to share. I asked that she take free reign of her performance again this year and I suspect she’ll outdo herself.
CCW: How does wearable art fit into your artistic life as a whole — is it a small part of your creative life or a major part?
RA: I am a Jack of all trades, but master of none. I just try to exemplify what I find beautiful or moving, whether it’s in the form of photographs, poetry, or this newer project of costume design.
CCW: What aspects of wearable art do you appreciate the most?
RA: Having a chance to convey what I feel passionate about, in an artistic manner, is truly electrifying. However, what I appreciate most is how Wearable Art shines a spotlight on the breathtaking creativity of my fellow artists. I also love the community’s enthusiasm and support for this fantastic event!
Marianna Carpeneti models artist Rosie Ainza’s “Conflict” during the 2015 Wearable Art Show sponsored by the Juneau Arts & Humanities Council at Cenntenial Hall.
