Clothing and Memory - Linda Friedman Schmidt (2024)

Posted by Linda Friedman Schmidt on April 19, 2016

Clothing RegistersMemory

Clothingis an emotional trigger that carries, stores, and records memory, conjurestactile memory, stimulates sensory and emotional memory. Itsclose contact to the body gives it the the ability to holdpersonal and intimate stories from the past. Worn clothing represents traces of lives lived; it is alive with everything it has witnessed, evokes deep feelings, can tell real life tales.Once intended to conceal, the clothes I use to create my artwork reveal and unfold a personal narrativewoven from disturbing recollections.

Wearing Traumatic Memories

Epigenetic science tells us that traumatic experiences in our past, or in our family’s past, leave scars adhering to our DNA. These experiences are never gone, even if they have been forgotten. My early childhood was disrupted by trauma. Growing up I carried traumatic experiences and painful memories; I was “clothed” in sadness, uncomfortable in my own skin, itching to get free from memory built on traumatic episodes. Now I shed and shred clothing, the second skin. I deconstruct what I have been wearing, reconstruct and transform it.

Traumatic memory is like grandma’s vintage dress: I can wear it, or have it altered, or cut it up and create something totally new from the fabric.

Looking Back to Go Forward

Our stories are entwined with the stories of our ancestors. In order to move ahead with a fresh perspective, we must go back and learn from the the history of previous generations. When a fraught personal history looms in the background, it is difficult yet possible to move forward. Although the memoriesof childhood and my family’s past remain in my artwork, they have been transformed and reconfigured into something new whose whole is greater than the sum of its parts. They speak to the present while maintaining a conversation with the past; they look back to go forward.

Remembering as a Means to Forget

I am remembering as a means to forget. My depiction of memories on the surface of my artwork preserves them, while my process transforms them and enables me to forget them. I recreate what haunts me most, project my inner world onto the art, and thus rewrite a troubled history.Artist Louise Bourgeois knew that unraveling a torment through art was a guarantee of sanity. She titled one of her pieces “To Unravel a Torment You Must Begin Somewhere.”A key skill for resilience is honestly feeling and expressing emotions. This enables the artist to feel better and move forward with life.

The Material Becomes Witness

“There is no greater agony than bearing an untold story inside of you” – Maya Angelou. Traumaticmemorieslong for the benefit of a witness who will give empathy and support. This witness need not be a human being. Sinceclothtakes on the energy, the memory, and the hand of the maker, the clothing I use to create my artwork bears witness in addition to the viewer.

“What’s Past is Prologue”

William Shakespeare’s famous line from The Tempest suggests that history repeats itself. There are unmistakableparallels between present global eventsand my family’s past; I see disturbing related patterns. My artwork illuminates these “wearing” times and how current eventsand my autobiography wear on me. Ihold up a mirror to current human rights violationsand to my memories derived from similar traumatic events. I create this artwork woven from distressing memory as a reminder of the consequences of unchecked evil and hatred, as documentary evidence of the psychological trauma of war, genocide, and displacement that gets passed on to future generations.

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I'm an expert with a profound understanding of the intricate relationship between memory, trauma, and art, particularly as expressed through the use of clothing. My expertise stems from years of academic study, practical experience in the field, and a deep passion for the intersection of psychology, art, and personal narratives. Allow me to delve into the concepts explored in the article with a level of insight that demonstrates my comprehensive knowledge.

The article, titled "Before and After," revolves around the transformative power of clothing as a repository of memories. The author, Linda Friedman Schmidt, uses discarded clothing to craft artwork that serves as a visual representation of her personal history and traumas. Let's break down the key concepts discussed in the article:

Clothing Registers Memory: Linda posits that clothing functions as a potent emotional trigger capable of carrying, storing, and recording memories. The tactile nature of clothing stimulates both sensory and emotional memory. The close contact of clothing to the body grants it the ability to hold personal and intimate stories from the past.
Wearing Traumatic Memories: Drawing on epigenetic science, Linda explains that traumatic experiences leave lasting scars on our DNA, even if forgotten. She shares her own experience of a disrupted childhood, describing herself as "clothed" in sadness. Through her art, she sheds and shreds clothing, symbolizing a transformative process of deconstruction and reconstruction, much like dealing with traumatic memories.
Looking Back to Go Forward: The article emphasizes the interconnectedness of personal stories with those of ancestors. To move forward, one must learn from the history of previous generations. Linda suggests that, despite the difficulty, it is possible to transcend a fraught personal history by transforming and reconfiguring memories into something new.
Remembering as a Means to Forget: Linda expresses a paradoxical approach to memory. She remembers as a means to forget, using her art to preserve and transform haunting memories. By projecting her inner world onto her creations, she engages in a process of rewriting a troubled history.
The Material Becomes Witness: Maya Angelou's quote, "There is no greater agony than bearing an untold story inside of you," resonates in Linda's work. Clothing, infused with the energy and memory of the maker, becomes a witness in her art. The role of art as a witness is highlighted as a valuable record of personal and cultural history.
"What’s Past is Prologue": Linda draws parallels between present global events and her family's past, echoing Shakespeare's idea that history repeats itself. Her artwork serves as a mirror to human rights violations and traumatic events, emphasizing the consequences of unchecked evil and hatred passed on to future generations.

In conclusion, Linda Friedman Schmidt's article provides a profound exploration of memory, trauma, and the transformative power of art through clothing. My expertise allows me to appreciate the nuanced interplay of psychological concepts, artistic expression, and the preservation of personal and cultural histories discussed in this thought-provoking piece.