My own blood gets on everything I make - one day auctioneers may gene test my work for authentication
I was a very detached child... living partly in this world.. and mostly in my head.
Sruli Recht- Made to measure - Jerusalem 1979
Migrated like a broken Sea Bird, Johannesburg South Africa - Melbourne Australia - European Nomad landed in Reykjavik Iceland
work
process process
pro
cess
all of my work is inspired by the resonance of process. for me, design lines are more of a result of process and form, than they are a decision.
That is not to say my work just happens... I know what it will look like before I do it, but there is a mid point where everything
liquefies,
all forms and finishings...
and hardens right at the last moment. up til that moment when the last button is on it is still unformed.
The blend of organic geometry
Solid backward tailoring [using techniques to push against themselves ]
Pragmatic design
Abstracted forms. fragility. permanence.
Recontextualized
Ob
scur
ing lines
Hides shape and from through graphic placement of lines
I like my work to seem as thought its been constructed by robotics in an orbiting factory. I want each piece to make people think about how its been done...
how did he do that?
how was that possible?
and
when I make only one - I want it so look like there were a thousand.
I like making ugly things beautiful.
Taking fabrics that repulse and bypass peoples defences by reforming it into a thing of beauty.
If you stripped back the structures and looked at the elements
you
would
dislike
them.
I can see every point of a garment in my head from fabric cutting to every seam clipping
There is not a wasted line on my garments
From the
in
side
out,
I observe each positive and negative space and its reaction to the landscape surrounding it.
The interaction of lines is paramount.
Make things without time.
Pieces that seem to have existed in the 1800's or 2180
I like to make things non-existent, things that live in a small metropolis out of time. things that have no direct place [like me]
I don't feel as though I exist in this time and the making of each of these pieces is making the world in my head real.
Bringing it out to poison other peoples world.
Maybe infection is the right word.
My work is the result of process, not intention.
I'm not trying to
make it look like anything
as
much
as feel like it was or is going to be
something.
It is an emotion or an intellectual abrasion.
innovation - I like to make the next thing.
the thing you won't wear yet because you aren't ready to
this is what I do with my 'made to measure' work particularly; look at someone's character and what they wear and how they move, and make for them the 'next' piece of their narrative.
like predictive text.
humans have a tendency to model things unknown on a scale of things known. I remember this... and aim left.
my attitude is that I can make anything that I can see... be it in my head or on paper or in front of me.
Insect and animal forms
Scissors
Self-Destructive work loads
The sound of blades sliding
Uncut leather skins,
Old woollen military uniforms propellers
Fabric
Lots and lots of fabric,
Old natural fabric,
Brown,
The prospect that I might one day be able to sit still
Worn out mid 80's cyberpunk novels
Books about how mundane things evolved - like language - and the cerebral construction of reality- and how things are made or work
Films where a plausible alter reality has been constructed. then, now or not yet
Repetition in form
Matte surfaces
Robots,
Old and new medical equipment
Ostrich leather,
Wit
Hardware stores
Knowing the sound and rhythm of someone's walk
Green
Reading when I should be sleeping
Innovation
Delicate structures
Caffeine
Texture
Facial hair
The profile of layer slices
Jelly fish, squids and rays,
The cold
Buttons
Working out how 'they' did it
Art that appears factory made
Self imposed aphasia
Being very quiet
Anything soviet- the old soviet lifestyle gave a massive importance to everything, simple everyday anythings. cans of food, boots, coats tables... things were so hard to get that they had massive weight to them.
Shirts buttoned up
Patterns and association
Scarves
Selective appropriation
Poker faces
Being constantly engaged
Undoing knots - especially the really tiny ones in thread
Seeing animals and faces in things
Becoming entranced with the way people move
NSDA era technology
40's and 50's view of the future
The sternomastoid
Finding my other halves
Cutting things
Cutting things
Cutting things
Cut
ting
things
is in Reykjavik
contact [at] srulirecht [dot] com
Studio and Project Manager -
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otabo
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“Sruli Recht graduated from the Royal Melbourne Institute of Technology with a Bachelor Degree in Fashion Design in 2002, and whilst working through Europe received his Design Honors Degree in 2005.
In the past 8 years he split himself between -
Film and Video installation costume
Many Many Made to Measure projects
Pattern cutter and show-piece maker for Alexander McQueen
In top secret research and development for high tech fabric developers
Head designer and consultant for fashion labels in Iceland and Australia
…and his clothing and artwork have been exhibited through Asia, Australia, Scandinavia, the Americas and Europe.”
All rights reserved. Any unauthorised resale, distribution, public display or duplication of any image or idea is a violation of all applicable laws and is subject to prosecution.
I bite.
from whenst it came.
Like most:
I began drawing because I wanted to put a window in the paper. So I could see through it. And so it wouldn’t be flat anymore.
I began sculpting because I wanted a shark.
I began sewing because I couldn’t find clothing that I could be through. So I wouldn’t be flat anymore.
Thus, it could be said… I am into making potential un-realities.
I work because without it I lose my sense of permanence… and fade out. I become a permeable fog. When I work I am a rolling gurney moving through a solid painted wall. Broken and cracked ideas, jagged unmatched edges that fit into polarised opposites.
To take an idea out of my head and fashion its form is purely surrealistic... and it gives me the most real experiences.
For when I work I am plugged in to the infinite awkwardness that is raw possibility
I’m only really part of the world when I’m working. The rest of the time I slip out of line.
I work because it makes things real. It makes that black humour sweat itself out, it makes my hallucinations something tangible - and just one less thing that is stuck in my head.
When I work my bodily functions stop, I lose the sense of hunger, exhaustion, soreness and time.
I work because it makes me real and lets me present interior reality and exterior reality as two elements in the process of unification.
When I work I feel as though I can improve the ugliness of any one thing and allow it to evolve into something beautiful... more by accident than intention, like smashing a car so often that it becomes a beautiful cube.. I don’t aim for intentional beauty.
A lot of time is spent on each garment. It feels like sculpture.
When I walk around I see abandoned flashes of things that didn’t exist, and were found on the periphery of my future memory echoes. Its like I’m reaching through a veil, rifling around in someone else’s dormant history and pulling them out to here, like an eel from a lake, to compound elements that haven’t happened with the last waves of those that did.
I lean more on the scars of familiarity, fabrics that trigger, graphic button layouts that pull at its history, I apply distorted half memories, broken ideals, and distracted murmurs of dusty old conversions.
And redefine them in a garment that you know you haven’t seen, but feels too familiar to be new.
Mostly, I'm interested in the character of clothing. The personalitly it reads. When I design I give to my work a history, an emotion, and a personality… in short, its own permanence. The life of things is extremely relevant. Whether a coat or sculpture… I want to show its past before it was real to you… and the future it will lead through.
Sruli Recht Studio is in the old harbor of Reykjavík.
Large Ships drift by the window.
The cutting table rules.
There are many types of scissors, and more types of fabric.
For council on internship places please write to
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