The Artist

Bri Conlon

My name is Bri Conlon, and I'm a recent ICAM graduate from UCSD with a deep passion for the environment and outdoor exploration. Throughout my studies, I've been captivated by a central question: how can technology and an environmentally conscious future not just coexist, but thrive together? SunThread represents my ongoing investigation into this possibility. It is a project born from the belief that we can find joy and harmony in both technological innovation and environmental stewardship.

My artistic practice spans multimedia textiles, electronics, photography, and beyond. I embrace being a work in progress, learning and evolving with each project. As I dive deeper into electronics and the technical possibilities of SunThread, my excitement grows for what this fusion of art, technology, and sustainability could become.

In September, I'll be moving to Aotearoa (New Zealand) to work in Outdoor Adventure and Education. I hope to continue pursuing a multi-disciplinary career across various creative mediums. If you'd like to follow along on my ongoing artisitc journey, follow my creative account on Instagram: @lavender.lighter.

For other inquiries, please reach out via email: bohemiaclarke@gmail.com

Future Endeavors

Looking ahead, I'm excited to expand my artistic practice in several new directions. I'm particularly drawn to bio art and the possibilities of working with living materials like algae. There's something fascinating about creating art that literally grows and evolves over time and it aligns with my interest in the intersection of technology, nature, and sustainability. Some artistic inspirations for this art are bio-designers Emi BioLab and Iris van Herpen.

Fashion remains a central passion, and I'm looking to explore a cohesive clothing line that continues discussing the themes I've been investigating with SunThread. I envision pieces that blur the boundaries between art and wearable design, incorporating sustainable materials and perhaps even bio-responsive elements.

Beyond visual art, I have a life goal of publishing my writing and photographic work. I'm also planning to start a blog to document my outdoor adventures in New Zealand, sharing the connection between place, nature, and artistic inspiration.

Each of these endeavors feels like a natural extension of the questions I've been exploring through my work: How can we create art that not only reflects our relationship with the natural world, but actively participates in it? I'm excited to continue investigating these possibilities as my practice evolves.

Past Works

Here are some pieces I have created that have helped me grow as an artist.

Sculpting Style: Where Fabric Meets Filament in 3D-Printed Fashion

This paper explores the integration of 3D printing into clothing creation, specifically focusing on techniques that fuse 3D-printed elements with fabric. The project aimed to enhance traditional garment-making with digital fabrication, blending sculpture and fashion. Through a series of experiments, different methods were tested, including 3D-printed chainmail modules, lace patches, and direct printing onto fabric. The most successful approach involved printing directly onto tulle fabric, which allowed the filament to bond seamlessly with the material. This study highlights the possibilities and limitations of 3D-printed fashion, emphasizing the creative potential of combining traditional sewing techniques with modern fabrication technologies.

My motivation for this project stemmed from an interest in incorporating 3D printing into my clothing designs. There are vast possibilities with 3D printing, and I wanted to explore its applications in fashion. By integrating digital fabrication into garment-making, I aimed to elevate the craft, blurring the boundaries between fashion and sculpture. This project was an opportunity to test different methods and determine how 3D printing could seamlessly merge with traditional sewing techniques.

The most successful technique involved 3D printing directly onto fabric. I designed flat, decorative elements such as flowers, birds, and butterflies, then printed them on a standard 3D printer. After a few layers of filament, I paused the print and manually placed fabric onto the printer’s surface. For this method, I used tulle fabric due to its stretchiness and netted holes. After tightly securing the fabric and applying adhesive in some cases, I resumed printing. The filament fused with the fabric, integrating through the netting and ensuring a strong bond. Research indicated that while non-netted fabrics can also be used, netted materials provide the best durability as the filament connects through the mesh holes.

Hermit Crab Robot

This project aimed to develop an interactive hermit crab toy as an educational alternative to collecting live hermit crabs from their natural habitat. The design focused on creating user-controlled movement to simulate natural crab behavior while promoting environmental awareness. The development process involved extensive material experimentation. While initially considering paper construction, I pursued clay fabrication for its perceived durability and aesthetic appeal. However, this material choice presented significant technical challenges. The clay proved difficult to manipulate with precision, and integrating the servo motor mechanism within the clay structure required considerable problem-solving. Additionally, the final clay construction resulted in excessive weight, which compromised the responsiveness and fluidity of the motorized movement.

Through this iterative process, I gained valuable insights into material selection and mechanical integration for interactive art pieces. While the paper prototype may have offered superior functionality, the clay experimentation provided important lessons in balancing aesthetic vision with technical requirements. Despite the material challenges, the final toy successfully achieved its core objective of creating an engaging, environmentally conscious alternative to wildlife collection.