Sam Norgard
Cycle Hat proposal scales up the more often explored smaller
kaleidocycle by reinterpreting the form in larger perler beads. The
kaleidocycle is an engineering linkage discovered by French
mathematician Raoul Bricard. It was interpreted in origami by the
mathematician Doris Schattscheneider and the graphic artist Wallace
Walker, their cycles used tessellations by M C Escher. Our
(Contemporary Geometric Beaders group) beaded cycles are also
linkages of tetrahedra (created by joining four beaded triangles
together). The decision for either 6 or 8 tetrahedra in the final
ring creating the Cycle Hat form will come in the fitting of the
piece to the body. Cycle Hat brings the kaleidocycle to the
millinery world, placing the art where the crown rests: a place of
honor. Worn as a runway piece Cycle Hat is made to be explored over
time. The model will stop, rotate the cycle and continue on for four
steps, repeating four times to complete the cycle. This sequencing
in time will mimic the repetition in design in form and pattern,
carrying relationships from 4-D to 3-D to 2-D. I have created
several kaleidocycles in smaller scaled beaded form. One is attached
for your review; in form it will act as a maquette for the Cycle
Hat. The palette and patterns will be changed to enhance contrast
between each side of the tetrad so the audience will be able to read
the change in the form as the model rotates the Cycle Hat. Thank you
for reviewing.
For 25 years I’ve created sculptural dresses. I welcome opportunity
to create a wearable interpretation honoring contemporary geometric
beadwork using math ideas to generate form and design. My current
sculpture, "The Butterfly Dress" explores a collaboration with women
in the Dominican Republic who have been sex traded. Through the
process they learn technique; jewelry is sold to build homes. I've
coupled the making with the Coastal Bead Society, Savannah GA. I
find meaning brought to the work through process. I propose to
interpret The Butterfly Dress' skirt into beaded geometric forms,
informed by math and modular concepts, organized through the
Fibonacci series. The representational images of nature will be
translated into geometrics: triangles and warped squares. The use of
ABC modular thinking (form A repeats to make B, repeat B to make C)
will create variation in forms ultimately used to make the skirt.
This process yields discovery. It is a process I teach at the
Savannah College of Art and Design and is related to fractals. I
recognize this kind of thinking in the Sierpinski Triangle. I will
follow the process, not the product, to create the forms for the
skirt. The smaller range of the Fibonacci sequence will be used for
inspiration for scale and placement. The opportunity to create this
work with members of the Contemporary Geometric Beadwork team will
doubtless lead to more layers of meaning. Thank you for your review.