Five2Watch: Costume

In response to our Digital Resident Jaron Hill we’ve selected five artists who have explored costume as part of their art practice: Matt Rowe, Rhiannon Lowe, Sarah Younan, Emily Speed and Amelia Hawk.

Dirty Net Curtains, 2013 - 2014

Matt Rowe

Though a veil of decorative lace trim, Dirty Net Curtains begins to consider how ornamental embellishments of our domestic land scape, attempt tame our underlying savage desires. 

Matt Rowe


Cekca Het: Trans Panic (costume), 2021

Rhiannon Lowe

Performance costume made by Abi Hubbard/No Notice Clothing.

Rhiannon Lowe


Teatime, 2011 - 2012

Sarah Younan

older work, when the little teapot reigned.


The Construction Workers, 2013

Emily Speed

HD Film, 6m30s projected and exhibited with handmade costumes, printed handerkerchiefs and wooden structures, commissioned by Wirksworth Festival.

Alongside the tradition of Morris dancing as a ritual and symbolic act, ‘The Construction Workers’ takes inspiration from the tacit structures that exist within small communities and the delicate balance required to keep things working harmoniously and consistently. Made with the generous help of the ladies from the ‘Ripley Green Garters’ Morris group.


Costumes for Curators #1 Stuart Allen, 2013

Amelia Hawk

Giclee print, signed limited edition of 20

841mm x 594mm

#1 Stuart Allen the Hawk Racing Suit, the costume takes influence from the prolifically hard training of the Eurasian Sparrow Hawk and the reflective nebulous’ present in the nights sky created by dust reflecting the light close to nearby stars.

The Costumes for Curators series seeks to investigate the role of costume within the incidental performance of the everyday, challenging its use as a visual tool or extra and instead using it as an integral element to the work. The project further looks to question the role between the artist and the curator by creating a situation where the curator becomes consumed within the art work as an active performer through the wearing of the costume. The curator is integral to the work as the costume is made for the curator responding to them as an individual, their working role and the context the costume is worn in.

Amelia Hawk



Published 14 May 2021