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CAREERS
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Machinist
Apply NowTHE INSPIRING LAND BEHIND THE ETHOS OF SORDO
Sordo©is a line of collectable creations in fluid dialogue with design, artisanship and culture. Founded by Monica Sordo in 2012 and born out of a homeward bound voyage to Caracas,sordo© blossomed in New York into a life project of worldly sensibility.
Design as the expression that bridges forms and techniques sits at the heart of Monica’s artistic process. Fueled by innovation and experimentation, soul and precision, her creations are reminiscent of her Caribbean memories and deeply influenced by the minimalistic lines of her modern, Latin American heritage. The study of voluminous shapes, organic textures and dynamic proportions—distinctively present across her jewelry practice—are now further advanced with the development of sculptural objects of desire. Throughout Sordo’s creative manifestations a common thread prevails: the pursuit of permanence in design beyond a moment in time.
In tandem with the philosophy that has defined her jewelry since its inception, this renewed era of sordo© lives in between Venezuela, with the introduction of Salon Caracas, an evolving experimental space and virtual window; Peru, where Monica first planted the seeds and forged a bond of commitment, crafting jewelry alongside jewelry masters known for their ancestral techniques and skilled precision; and Mexico, where she collaborates with artisans in the sourcing, building and creation of functional design objects.
Ever in motion, Monica breathes new air with sordo©. Infusing her designer vision, artist sensibility, and artisan heart into the creation of timeless pieces that exist between sculpture and artful collectables.
Introduction
In western normative fashion, the term ‘exotic’ is used to refer to elements of new fashion codified as profoundly different from previous or contemporary fashion techniques. ‘The ethnocentric underpinnings of western fashion ensure that differences between codes of exoticism and mundanity are played up’ [1] to create meaning, but can inadvertently lead us into narratives that foster unequal relations of power and value.
As creative cultural leaders from a variety of disciplines, be it fashion, textile design or contemporary curating, it is important to interrogate and reflect on these practices. Recent shifts in the balance of cultural power have compelled many cultural institutions to critically reflect, interpret and display non-western collections [2] while advancing decolonial practices. Yet it is important to take a more nuanced exploration of these attempts; identifying the blind spots and controversial gaps that slip in between the good intentions. Over the years I have come to understand that this is key in order to maintain its critical possibilities, before we all end up reinforcing and reproducing the very power structures we set out to critique.
‘Stemming from Australia’s diverse landscape are a myriad of unique stories, perspectives, customs and social identities, all of which coexist harmoniously as one of Australia’s greatest strengths’.[3] Australian based initiatives like FoMA leverage this unique strength to showcase art and fashion as a vehicle to transmit culture and evoke cultural reflexivity among receiving audiences.
Within this context, the importance for fashion designers and wearable applied arts to look to these platforms for collaboration and inspiration can not be overstated. They offer opportunities to reshape the received understanding of fashion as a form of cultural expression, and explore our nation’s unique fashion landscape in a rapidly evolving global context.
