Klaudia Proskornicka

Starting my research process with an exploration into home life and soft furniture led me to question the idea of comfort in juxtaposition to discomfort. Inspired by the abstract works of Erwin Wurm, Bart Hess, and Jessi Reaves, I began to interrogate the relationship between the body, materials, and our daily surroundings. Looking at textiles and creases seen on the furniture pieces after sitting became a focal point in my research. The idea of tension in relation to human body, and furniture and upholstery leaving marks on our skin and vice-versa has been a ‘red thread’ throughout this project.

Blurring the lines between sculpture, art, and furniture, I chose to design for all, which gave me the freedom to explore the boundaries of the body without focusing on one gender. Drafting on women’s and men’s pattern blocks, I was able to adapt my design accordingly.

Another key reference was the work of Frederick Kiesler, ‘Endless House’, which he compared to a cocoon – ‘endless like the human body— there is no beginning and no end.’ By applying his approach to fashion design, I gained a new perspective on constructing the silhouette of my pieces. The shapes were influenced by art, architecture, furniture, and movement and altered to fit the constructs of clothing.

With this, I also developed textiles which reevaluate the idea of biodegradability and add meaning to the otherwise discarded materials. Using natural liquid latex; I tried smudging the lines between sculpture, art, and design. In my work, I aim to obtain an artisanal approach toward materials. With the limitations of the newly developed textiles, I designed the shapes that create a tension between the skin and the garments.

‘Distorting comfort’ examines the notions of the tension between skin, body, and our daily home surroundings. It aims to push the idea of feeling comfortable while finding comfort in discomfort.