FOOTPRINT – A 1 Day iteration of exploring footprints as both a motif and a medium. This also marks the beginning of cultivating and re-nurturing my connection with home, the physical space. I've always felt a real sensitivity to my feet. This comes from my childhood being completely absorbed by ballet. Saying goodbye to physical spaces, I always get this intense urge to take my shoes off and absorb the textures. The textures feel like they're being tattooed on my bones and in my mind.
2721 . DIRT – Dirt is a funny thing. It's such an accessible texture. It's such a historical texture. It is the genesis. It's central to all. I built this space with a sense of anonymity. The response to the dirt wasn't towards me , it wasn't towards my story but their own story, their own memory, their own moment. Each person to step on to the dirt became the sole owner of that space for that moment.
carving visceral spaces
Exploring overwhelming moments
to shock the mind
into a state of serenity
Moments that harness visceral energy as a method of grounding...
How to combat the numbness we experience in these synthetic spaces...
Search through the entangled twine of photos...
Wind in the Gorvy Theatre
granting the space partial control of the built experience
latest work !!
FOR SALE: DIRT is Caroline's primary body of work.
She is exploring this idea of commodifying nature as a method of environmental, ecological, and cultural conservation and activism. This was developed through a workshop where she was tasked to examine her work through a 'product lens.' She began to examine dirt as a resource rather than just as her medium. Caroline then began to develop this notion of crowdfunding dirt in an effort to save the global environmental issue of degrading topsoil. FOR SALE: DIRT would carve a space for people to re-engage with the land and the farms to build a community that supports a specific acreage of the land.
Orbiting and feeding this idea of crowdfunding dirt, Caroline is also beginning to explore the role of dirt within the home and within our daily lives. She has also begun to re-acquaint herself with the aesthetics of her home, the house, and the state. This has proved to be a humbling experience.
Moving forward, Caroline will continue to ask questions such as; How has our connection with dirt developed or dimensioned throughout the years? How has this impacted the way we treat the dirt? How can this primarily impartial narrative shift to passion? How can the dirt become more visibly central in our homes?
Caroline Lauvetz was born and raised in Stillwater, Oklahoma, U.S.A.
Caroline attended Savannah College of Art and Design in Savannah, GA, U.S.A., where she earned her B.F.A. in Fashion Design and Fibers. In Savannah, Caroline developed her practice using natural dyes, primarily Indigo. When settled, Caroline typically has at least one indigo vat in the corner of her studio that she maintains and uses as part of her daily practice.
Now graduating with her Master in Fashion Design - Knitwear, Caroline has decided to remain in London, U.K. feeling as if there is still so much left of this city to be explored. Through her time at the Royal College of Art, she has developed into a multidisciplinary artist exploring the commodification of nature. She has shifted her practice to preservation, conservation, and activism. Caroline believes that as a fashion designer, she must be incredibly aware of the industry's destruction it inflicts upon the earth. The majority of her childhood, when not in the ballet studio, was spent in nature. She feels an enormous responsibility for building kainos (a new newness) systems or processes to create a healthier industry. Caroline believes that we are all co-heirs to this earth, and as such, we must all do our part.
Beyond this, Caroline is beginning to develop her theology of making in accordance with her religion. She is beginning to discover the necessity of having her faith at the center of her life and, therefore, her work. While this shift in mindset does not affect the subject matter of her work, it does, however, significantly impact the methodologies she utilizes.