# data[].attributes.attachment_link.readable_text
Light within space; form refraction and distortion; the relationship between light and material: I'm continually inspired by the angles of three-dimensional forms, and how light relates to the material and space. My work explores translucency, line and structure.

MA Degree

School

School of Design

Programme

MA Textiles, 2015

Specialism

print

Light within space; form refraction and distortion; the relationship between light and material: I'm continually inspired by the angles of three-dimensional forms, and how light relates to the material and space. My work explores translucency, line and structure.

Degrees

BA (Hons) Multi-Media Textiles, Loughborough University, 2005

Exhibitions

Unfolded 05, Truman Brewery, London, 2005; New Designers Selection, Studio 95, London, 2005; New Designers, Business Design Centre, London, 2005

Awards

Worshipful Company of Haberdashers Award

# data[].attributes.body
Guilloché is a highly decorative technique used in metalwork, which combines mechanical engraving and translucent enamels to create surface embellishment. Guilloché enamelling can only be achieved with specialised machinery known as ornamental lathes.

# data[].attributes.attachment_link.readable_text
Please click here if you are not redirected within a few seconds.

guil·loche

architectural ornamentation resembling braided or interlaced ribbons.

"a wide strip of eight-strand guilloche"

Guilloché is a decorative technique in which a very precise, intricate and repetitive pattern is mechanically engraved into an underlying material via engine turning, which uses a machine of the same name. Engine turning machines may include the... Wikipedia

Feb 21, 2023 · Guilloché is a highly decorative technique which has been used in metalwork since the 18th ...
Duration: 4:38
Posted: Feb 21, 2023

# data[].attributes.attachment_link.description
Please click here if you are not redirected within a few seconds. guil·loche architectural ornamentation resembling braided or interlaced ribbons. "a wide strip of eight-strand guilloche" Guilloché is a decorative technique in which a very precise, intricate and repetitive pattern is mechanically engraved into an underlying material via engine turning, which uses a machine of the same name.

# data[].attributes.attachment_link.title
How was it made? Guilloché enamelling · V&A

# data[].attributes.attachment_link.description
See how guilloché - a highly decorative technique used in metalwork - is achieved with specialised machinery known as ornamental lathes.

# data[].attributes.attachment_link.readable_text
Exploring its creative possibilities in collaboration with leading jeweller G.Phil Poirier

At Silverlining we're inspired by many industries outside the world of furniture-making. Whether that's aviation, automotive or in fact watchmaking, we thrive by discovering new materials and techniques used across the luxury sector and in the case of watches at the micro detail level" says Mark Boddington, Silverlining Furniture founder. "We especially love working with time-honoured techniques that require exceptional skills which are rarely found in traditional cabinetry.

# data[].attributes.attachment_link.title
The Lost Art of Guilloché - Silverlining

# data[].attributes.attachment_link.description
Guilloché patterns are created using a rose engine lathe, which has a stationary single-point cutting tool that etches a rotating metal surface. Innumerable intricate geometric designs are possible, and the pieces can then be polished or covered with clear or coloured enamel to create a gem-like gl

# data[].attributes.body
Hussein Chalayan is best known for his awe-inspiring, seemingly impossible designs. Creations like a table that transforms into a dress, a mechanical dress that expands, contracts, and changes pattern and, most recently, outfits that dissolve in water have cemented him as an innovative tastemaker. But the virtuoso is bringing his talents beyond the runway with a new venture – creating the costumes for his very own dance performance.

# data[].attributes.attachment_link.description
Hussein Chalayan is best known for his awe-inspiring, seemingly impossible designs. Creations like a table that transforms into a dress, a mechanical dress that expands, contracts, and changes pattern and, most recently, outfits that dissolve in water have cemented him as an innovative tastemaker. B…

# data[].attributes.attachment_link.title
Why Hussein Chalayan’s Fall 2000 Show Was the Best Show Ever | Vogue

# data[].attributes.attachment_link.title
Franz Erhard Walther born 1939 Werksatz (Workset) 2008 | Tate

# data[].attributes.attachment_link.description
Case study exploring Franz Erhard Walther’s Werksatz (Workset) 2008, part of Performance at Tate: Into the Space of Art, a Tate Research publication

# data[].attributes.body
Walther dealt with the coincidental and the processual as design principles in various media. At the same time, fabric – until then an unusual artistic material – became a source of innovation for Walther, from which the “activation objects” emerged.

# data[].attributes.attachment_link.readable_text
VISIT THE EXHIBITION ONLINE - With the Digital Audio Tour through "Franz Erhard Walther".

Franz Erhard Walther (*1939 in Fulda) - winner of the Golden Lion at the 2017 Venice Biennale - is a key figure in the departure from the image since the European postwar period. Beyond the classical understanding of sculpture and painting, Walther formulated a completely new concept of work that included the viewer as an actor.

Already in his early work, Walther dealt with the coincidental and the processual as design principles in various media. At the same time, fabric - until then an unusual artistic material - became a source of innovation for Walther, from which the "activation objects" emerged. With the key work Four Body Forms (1963), the body became a motif. Between 1963 and 1969, Walther created the First Work Set, which consists of 58 activatable pieces that place the viewer in extraordinary interpersonal situations. The First Work Set was Walther's breakthrough in 1969, when he presented it at the "Spaces" exhibition at The Museum of Modern Art in New York. Under the influence of Pop Art, Walther's textiles became increasingly colorful. In the wall formations of the 1980s, he achieved an incomparable interweaving of painting, sculpture, and architecture that continues to this day.

Some of the exhibits can be worn or entered. In this way, they challenge the viewer's understanding of a traditional pictorial logic. The body becomes a medium in that it transforms life processes into images.

Curated by Jana Baumann

An exhibition in collaboration with the Franz Erhard Walther Foundation.

Work activations in cooperation with the Munich-based initiative TanzQuelle.

# data[].attributes.attachment_link.title
Franz Erhard Walther. Shifting Perspectives - Haus der Kunst

# data[].attributes.attachment_link.description
VISIT THE EXHIBITION ONLINE - With the Digital Audio Tour through "Franz Erhard Walther". Franz Erhard Walther (*1939 in Fulda) - winner of the Golden Lion at the 2017 Venice Biennale - is a key figure in the departure from the image since the European postwar period.

# data[].attributes.attachment_link.description
Balance of desire (left), Consideration & Modesty (right) Marble 70 x 28 x 22 cm, 80 x 80 x 32 cm and 109 x 62 x 32 cm 2021 Exhibition view:Dignity, Thaddaeus Ropac, Salzburg Halle, Austria Photo Ulrich Ghezzi

# data[].attributes.body
The individual photographs feature images of people – anonymous participants, performers, curators, artists and even the artist himself – engaging in unconventional and sometimes physically challenging interactions with everyday objects such as clothing, buckets, balls, doorframes, bicycles and perishable goods.

# data[].attributes.attachment_link.title
'One Minute Sculptures', Erwin Wurm, 1997 | Tate

# data[].attributes.attachment_link.description
'One Minute Sculptures', Erwin Wurm, 1997

# data[].attributes.attachment_link.description
A moving image installation with live performance, sound and virtual reality

# data[].attributes.attachment_link.title
Franz Erhard Walther. Shifting Perspectives - Exhibition Film

# data[].attributes.attachment_link.title
My Body Is a Pen: Franz Erhard Walther's Drawings in Space - Mana Contemporary

# data[].attributes.attachment_link.description
Evan Moffitt looks at an artist featured in Mana Contemporary's exhibition Flat Out: Works on Paper, 1960-2000 who endows the practice of drawing with "an almost impossible elasticity."

# data[].attributes.attachment_link.description
Early film tinting techniques saw colour spread uniformly across all of the shot, as the film was actually dipped in to a bath of colour. The more refined process of tinting by brush, and later stencil, consisted of painting specific areas of the film, image by image, frame by frame.

# data[].attributes.attachment_link.title
The Founders of Cubism, Ardent Fans of Film (Published 2010)

# data[].attributes.attachment_link.description
“Picasso and Braque Go to the Movies” argues that film was a crucial formative influence on Modern painting, especially Cubism.

# data[].attributes.attachment_link.readable_text
In this generative video work, we push the limits of visual technological innovations to create a fantasy fashion show. These endlessly delightful characters strut towards the viewer in a randomized combination of form, size and material. Each has their own anthropomorphic walk and personality, as well as a unique garment that could only exist in the digital sphere. Their outrageous, seductive couture takes the language of fashion and makes it oversized, fluid and truly space-age. An image of the future that is positivist, while at the same time questioning the role and need of designers at all.

Available for licensing, screenings and exhibitions

Editions

Edition of 6 with 2 artist proofs

Credits

Creative Director: Matt Pyke
3D Generative Animation: Chris Perry
Sound: Simon Pyke
Executive Producer: Claire Spencer Cook
Studio Technician: Spike Thompson

# data[].attributes.attachment_link.description
A generative fashion show. This video artwork premiered at the exhibition Lifeforms at 180 Studios, London, in 2022.

# data[].attributes.attachment_link.readable_text
RCA: Research Project

TANGIBLE IMPRESSIONS

physical presence in the digital world

One thing is clear; the uneasy balance between physical and digital will be one of the greatest struggles of the next generation

Tom Vavik

'Tactile' seems to be becoming a buzzword for designers, journalists, technologists, and futurists alike. In today's hyper-digitalised world we seem fascinated with the 'real': fetishizing the touching of physical materials and surfaces. The tactile is very much in fashion.

Tangible Impressions is a research project exploring this emerging trend; focusing on how, why and what we touch. As well as the changing habits of haptic in a digitalizing world. My woven experimentation looks to answer the question:

Can textiles record and represent physical presence in our digital world?

Like a hand print in concrete, a dropped programmatic tracking cookie on your browser or in imprint in a memory foam mattress; can textiles be part of a permanent or transient conversation between humans and surfaces?

This project, through material research, experimentation and development aims to address the position of textiles within this often virtual, digital world. Challenging both the role of textiles and its representation in a society dominated by screens and digital interfaces.

# data[].attributes.attachment_link.description
One thing is clear; the uneasy balance between physical and digital will be one of the greatest struggles of the next generation Tom Vavik ­'Tactile' seems to be becoming a buzzword for designers, journalists, technologists, and futurists alike. In today's hyper-digitalised world we seem fascinated with the 'real': fetishizing the touching of physical materials and surfaces.

# data[].attributes.attachment_link.description
‘…giddying perspectives, algorithmic choreography and psychedelic dancing figures – humanoid, geometric or entirely abstract – that can pass right through you like digital ectoplasm. It’s pure fantasy…’

# data[].attributes.attachment_link.description
Gibson Martelli Virtual Reality Artwork premiered at 66th London Film Festival. A holographic universe inspired by the extraordinary legacy of Joan Skinner.

# data[].attributes.attachment_link.readable_text
Rudi Gernreich has arrived at the Skirball in a new exhibition, "Fearless Fashion: Rudi Gernreich" as a Culture-shaking creator, activist and a human being whose time has come - some 30 years after his death (the exhibition runs until September 1, 2019 ).

Gernreich is best known as a celebrated LA based fashion designer - world famous for his "mono-kini" (a topless bathing suit for women), his 60s knits and unisex fashions.

In truth, at the time of Gernreich's death in 1985, a museum exhibition would have seemed unlikely. Back then, the naysayers would have had plenty of reasons to dismiss Gernreich: Castigated by some as just a publicity hungry provocateur whose designs were more photographed than worn, the serious designers were thought to be in Paris, or at least New York but certainly not in Los Angeles where Gernreich was based. LA was known for swimsuits and knits -at best California-produced resort or sportswear or denim.

Designers' inspiration back then trickled down from Paris and from haute couture - not from the streets in LA as was the inspiration for some of Gernreich's designs. Designers aspired to be in the best stores possible - and certainly not chain stores. By contrast, Gernreich made a deal for an exclusive line at the Montgomery Ward Department store. And, finally, back then Museums didn't do exhibitions about fashion or fashion designers.

Today, even luxury brands chase street culture and the Met Costume gala has made fashion into an Easter Parade of unwearable fashions at New York's encyclopedic museum of high culture, the Metropolitan Museum of Art.

In many ways, Gernreich was of his times as well as being consistently out of sync in his own time. Fleeing persecution as a Jewish teenager in Hitler's Austria, he arrived at 16 in Los Angeles, where he would be entrapped and arrested for being gay. As a Jew, as a homosexual, as a foreigner, as an artist, a fashion designer and even in how he did business, Gernreich was always the outsider. As the exhibition makes clear, he sought liberation in all he did and all he designed.

Born in 1922, Gernreich grew up in Vienna. His aunt and uncle owned a dress shop where he first sketched designs and learned about fabrics. In 1938, following the Nazi annexation of Austria, Gernreich and his mother emigrated to Los Angles (his father had committed suicide in 1930).

In Los Angeles, Gernreich, after attending Los Angeles City College and the Los Angeles Art Center, joined the Lester Horton Modern Dance Company as a dancer and also as a designer. Gernreich's costumes were innovative: At the same time as they accented the body, they allowed freedom of movement in ways that give the dancer's costumes and their silhouettes sculptural elements. Gernreich continued throughout his career to contribute costumes for dance companies. At the Skirball, the mannequins are posed in dramatic fashion that call to mind Martha Graham's modern dance poses. There is also on display a unique outfit that was made to be worn by two dancers together (almost like Siamese twins).

During this same period, after being entrapped and arrested for his homosexuality, Gernreich became one of the founders and early supporters of one of the first gay rights organization in the United States, the Mattachine Society.

The exhibition presents more than 80 outfits from all stages of his career grouped in both chronological and thematic groupings, such as.... Becoming Rudi Gernreich, Dance & Theater, Minis, Mods & Pantsuits, Swimsuits & Undergarments, Youth Culture & Politics, Unisex Solidarity, Experimental Fashion & Legacy.

Gernreich's fashions defied conventions. He eliminated the rigid silhouettes and wire constructions that shaped women's clothes and undergarments. Gernreich's mini-dresses raised hemlines, and his swimsuits allowed for a more natural and unisex look. Gernreich also introduced pantsuits expanding what women could wear. Years before Calvin Klein, Gernreich introduced male-looking undergarments for women, as well as introducing "no bra" bras and thong underwear. He was also ahead of his time in creating fashions that today would be called "body positive" (although at the time they caused a backlash). His fashion didn't shy away from politics and embraced student protests against the Vietnam War and other conflicts.

Enhancing the exhibition are video oral histories available at several stations from Holocaust Survivor and fashion designer Renee Firestone, Dancer Don Martin and model (and author) Leon Bing.

The Skirball's exhibition space has been recently renovated to allow greater natural light into the display area as well as to make the vaulted space feel much more airy and open. The bright colors and very Mod, very Pop Art installation showcases Gernreich clothes to maximum effect

What is remarkable is that looked at from today's vantage point, Gernreich's life as much as his fashion creations seem not just relevant to our times, but of our times. One can imagine them being worn right now (In fact, The Rudi Gernreich Label has been reintroduced by Matthias Kind and is available at Opening Ceremony). Thinking so is no accident: it is central to the exhibit, and is the reason the Skirball assembled this exhibition.

As, Museum Director Robert Kirschner and Curator Bethany Montagno explained at the press preview, the Skirball has consciously looked to organize exhibitions around cultural figures who embody the Jewish values that animate the museum (they need not be Jewish, and if Jewish need not be observant), - Gernreich fits the bill. As the Skirball's press release says of Gernreich: "His body of work shows how he conceived of fashion as a liberating force-a platform for innovative design that challenged conventional notions of beauty, identity, and gender."

Skirball exhibition curator Bethany Montagano explains: "At the Skirball, where we are guided by the Jewish tradition of welcoming the stranger, we are inspired by how Gernreich, did just that: his apparel welcomed everyone into the fold-regardless of race, religion, gender, sexuality, and body type-broadening the scope of who is 'fashionable.' We hope that visitors are inspired by Gernreich's fearless fashions and his lifelong credo that style is about freedom and authenticity." All true and, one might say, tailor-made for our times.

# data[].attributes.attachment_link.title
Rudi Gernreich: Fashion-Made For These Times

# data[].attributes.attachment_link.description
Rudi Gernreich has arrived at the Skirball in a new exhibition, "Fearless Fashion: Rudi Gernreich" as a Culture-shaking creator, activist and a human being whose time has come - some 30 years after his death

# data[].attributes.body
The work of Raw Color reflects a sophisticated treatment of material and colour by mixing the fields of graphic design and photography. This is embodied through research and experiments, building their visual language. Daniera ter Haar & Christoph Brach work on self initiated and commissioned projects in their Eindhoven based studio

# data[].attributes.attachment_link.readable_text
Daniera ter Haar & Christoph Brach

The work of Raw Color reflects a sophisticated treatment of material and colour by mixing the fields of graphic design and photography. This is embodied through research and experiments, building their visual language. Daniera ter Haar & Christoph Brach work on self initiated and commissioned projects in their Eindhoven based studio

# data[].attributes.attachment_link.description
The work of Raw Color reflects a sophisticated treatment of material and colour by mixing the fields of graphic design and photography. This is embodied through research and experiments, building their visual language.

# data[].attributes.body
Invertuals is a photo serie created for the group Dutch Invertuals, used as press-material during the Salone del Mobile, Milano 2010, all the participants are covered up with big foam volumes. Through the characteristics of the material; the stiffness, volumes, mat structures and the usage of their minty colours, we created these statues. Giving a suggestion about the appearing of the exhibition. Here the subject is inspired on volumes being created through the material. Forming a landscape with these massive objects, the fact 'volumes' is coming back in the design of the exhibition, here hugh plastics bulbs are blown with air, creating a platform for the designer being exposed.

Dutch Invertuals is a collective of designers with different disciplines. Initiated and curated by Wendy Plomp the group exhibited several times together during
Dutch Design Week, Eindhoven and Salone del Mobiel, Milano. Together they create exhibitions in which their contemporary viewpoints are expressed through images, objects, materials, insights and stories. The participants were Daphna Isaacs, Edhv, Jon Stam, Laurens Manders, Mieke Meijer, Raw Color, Studio Jo Meesters, Verger and Wendy Plomp.

# data[].attributes.body
Invertuals is a photo serie created for the group Dutch Invertuals, used as press-material during the Dutch Design Week Eindhoven 2009, all the participants are covered up with different textiles. Through the characteristics of the materials; matt / shiny, thick / thin, elastic / inelastic and the usage of colour we created these statues. Giving a suggestion about the appearing of the exhibition. Here the subject is inspired on the traveling aspect of the group, within the industrial space tents are formed by using thin black lines, giving a idea from a smaller inner space just with outlines, where the projects are presented.

Dutch Invertuals is a collective of designers with different disciplines. Initiated and curated by Wendy Plomp the group exhibited several times together during
Dutch Design Week, Eindhoven and Salone del Mobiel, Milano. Together they create exhibitions in which their contemporary viewpoints are expressed through images, objects, materials, insights and stories. The participants were Daphna Isaacs & Laurens Manders, Edhv, House of Origin, Lead, Lex Pott, Lotty Lindeman, Mieke Meijer, Pepe Heykoop, Raw Color, Verger and Wendy Plomp.

# data[].attributes.attachment_link.readable_text
Invertuals is a photo serie created for the group Dutch Invertuals, used as press-material during the Dutch Design Week Eindhoven 2009, all the participants are covered up with different textiles. Through the characteristics of the materials; matt / shiny, thick / thin, elastic / inelastic and the usage of colour we created these statues. Giving a suggestion about the appearing of the exhibition. Here the subject is inspired on the traveling aspect of the group, within the industrial space tents are formed by using thin black lines, giving a idea from a smaller inner space just with outlines, where the projects are presented.

Dutch Invertuals is a collective of designers with different disciplines. Initiated and curated by Wendy Plomp the group exhibited several times together during
Dutch Design Week, Eindhoven and Salone del Mobiel, Milano. Together they create exhibitions in which their contemporary viewpoints are expressed through images, objects, materials, insights and stories. The participants were Daphna Isaacs & Laurens Manders, Edhv, House of Origin, Lead, Lex Pott, Lotty Lindeman, Mieke Meijer, Pepe Heykoop, Raw Color, Verger and Wendy Plomp.
http://www.dutchinvertuals.nl/editions/2/

# data[].attributes.attachment_link.description
Invertuals is a photo serie created for the group Dutch Invertuals, used as press-material during the Dutch Design Week Eindhoven 2009, all the participants are covered up with different textiles. Through the characteristics of the materials; matt / shiny, thick / thin, elastic / inelastic and the usage of colour we created these statues.

# data[].attributes.attachment_link.description
Wang & Söderström is a Copenhagen-based art and design duo. Occupying the liminal realm between physical and digital, they seek to combine technological advancements with sensual qualities to activate a digital sensuousness.

# data[].attributes.attachment_link.readable_text
Great mews! my Quantum Cat 🐱 art installation is nominated as one of the most innovative educational concepts in The Netherlands! By the Computable awards. To win we need votes. If you could help me with that, my gratitude is eternal. Vote here: https://lnkd.in/e8mY73JN Only a week left to participate. Just vote for the Quantum Cat 😊 Since its launch the end of last year, the Quantum Cat introduces audiences to the concepts of quantum computing, AI, and ethics. And the journey continues: Next Friday it's on display at RWTH University - AI week, Aachen, Germany Earlier it's been shown and discussed at some wild locations like: CES, Las Vegas, USA Andicom conference, Cartagena, Colombia Digitalgipfel conference, Stuttgart, Germany QuTech's Quantum Computing for Industry and Public event, Delft, The Netherlands Royal Museum of Fine Art, Antwerp, Belgium AI founder Demo Day, Heilbronn, Germany Dutch AI conference 2023, Utrecht, The Netherlands Design Digger Live, Amsterdam, The Netherlands RAAIT event at old prison Cupola XS, Haarlem, The Netherlands iXperium Technology Talks, Nijmegen, The Netherlands Dutch newspaper Parool and TV show Nieuwsuur Find out more about the project here: https://lnkd.in/e6XDQZPt An immense thank you and paws up for sharing, liking, or voting! PS: I've included a how to on the voting in the comments

# data[].attributes.attachment_link.title
Jeroen van der Most on LinkedIn: Project Pimrose is a new interactive dress by Adobe. Real physical... | 435 comments

# data[].attributes.attachment_link.description
Project Pimrose is a new interactive dress by Adobe. Real physical appearance-shifting fabric. Enabling the display of (motion-triggered) imagery and... | 435 comments on LinkedIn

# data[].attributes.attachment_link.title
Composition of Harmonic Curves. - Present&Correct

# data[].attributes.attachment_link.readable_text
Recent advances in smart materials have enabled displays to move beyond planar surfaces into the fabric of everyday life. We propose reflective light-diffuser modules for non-emissive flexible display systems. Our system leverages reflective-backed polymer-dispersed liquid crystal (PDLC), an electroactive material commonly used in smart window applications. This low-power non-emissive material can be cut to any shape, and dynamically diffuses light. We present the design & fabrication of two exemplar artifacts, a canvas and a handbag, that use the reflective light-diffuser modules. We also describe our content authoring pipeline and interaction modalities. We hope this work inspires future designers of flexible displays.

# data[].attributes.attachment_link.title
Project Primrose: Reflective Light-Diffuser Modules for Non-Emissive Flexible Display Systems

# data[].attributes.attachment_link.description
Project Primrose: Reflective Light-Diffuser Modules for Non-Emissive Flexible Display Systems

# data[].attributes.attachment_link.title
Polymer Dispersed Liquid Crystals - materiability

# data[].attributes.attachment_link.description
Introduction Polymer Dispersed Liquid Crystal (PDLC) devices are a type of smart glazing or film that change their transparency in response to an electrical impulse. When inactive the liquid crystals are randomly arranged, thus scattering the light as it permeates the screen, which results in the translucent, milky appearance of the assembly.

# data[].attributes.attachment_link.readable_text
Space Loom #2

Year: 2019

Commission: Lafayette Anticipations

Production: Jongeriuslab

Category: Exhibition

Category: One-offs / experiments

The Space Loom #2 (previously called Seamless Loom) was developed as part of Interlace, textile research, commissioned by Lafayette Anticipations.
This project treated the topic of weaving not only as a craft with a long history, but also as a technical, thematic, and critical enquiry; a vehicle for cultural innovation. For three months, research and experiments in 3D weaving filled Lafayette Anticipations' spaces, turning them into a designer's laboratory, all the while questioning our relationship to textile, tactility, labour, and the natural environment, and the limited vocabulary we have to describe these relationships.

The Space Loom #2 was designed at Jongeriuslab to research 3D weaving. These are four looms cut and joined together to form a new machine to weave 3D "bricks". For every new brick, the loom is adapted. New objects are developed in a constant interplay between the machine and the design it produces.

For more information on the exhibition, visit www.lafayetteanticipations.com.

# data[].attributes.attachment_link.title
Space Loom #2 | Jongeriuslab design studio

# data[].attributes.attachment_link.readable_text
Light-emitting lace is a textile lighting modular system comprising of woven optical fibre cloth and a bespoke selvedge edge linear illuminator. The research was funded by two Textile Future Forum Innovation fund awards, part of Scottish Funding Council initiative to accelerate collaboration between industry and academia to encourage industry-led step change and transformational innovation. The scope of the project was to provide MYB Textiles an opportunity for innovation through collaboration and to develop light-emitting lace products utilising optical fibre to allow strategic investment into new market routes. The research was conducted on site at the mill through design, prototyping and testing, building a knowledge base for the fundamental parameters for designing light emitting madras lace structures. There was previously no precedent for manufacturing smart textile products within a traditional textile manufacture infrastructure in Scotland.

# data[].attributes.attachment_link.title
Light Emitting Lace - Sara + Sarah Smart Textiles

# data[].attributes.attachment_link.description
Light-emitting lace is a textile lighting modular system comprising of woven optical fibre cloth and a bespoke selvedge edge linear illuminator. The research was funded by two Textile Future Forum Innovation fund awards, part of Scottish Funding Council initiative to accelerate collaboration between industry and academia to encourage industry-led step change and transformational innovation.

# data[].attributes.attachment_link.title
A+N Studio on Instagram: "Digital color studies"

# data[].attributes.attachment_link.description
117 likes, 1 comments - alissanienke on July 25, 2017: "Digital color studies" 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by A+N Studio (@alissanienke)

# data[].attributes.attachment_link.provider_name
Victoria and Albert Museum: Explore the Collections

# data[].attributes.attachment_link.readable_text
Request to view at the Prints & Drawings Study Room, level F , Case X, Shelf 928, Box C I

Black and white multiflash photograph of an ice-skater.

Categories

Object type

Materials and techniques

Brief description

Photograh by Harold Edgerton, Belita Skating, c.1948-60?, vintage print [Female ice skater leaping]

Physical description

Black and white multiflash photograph of an ice-skater.

Dimensions

Image height: 27.5cm

Image width: 35cm

Sheet height: 28.5cm

Sheet width: 36cm

Size of image: 27.5 x 35 cm Size of sheet: 28.5 x 36 cm

Style

Credit line

Given by the Harold and Esther Edgerton Family Foundation

Collection

Accession number

About this object record

Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.

You can write to us to suggest improvements to the record.
Suggest Feedback

You may also like

Shuffle objects

# data[].attributes.attachment_link.title
Belita Skating | Harold Edgerton | V&A Explore The Collections

# data[].attributes.attachment_link.description
Request to view at the Prints & Drawings Study Room, level F , Case X, Shelf 928, Box C I Black and white multiflash photograph of an ice-skater. Categories Object type Materials and techniques Brief description Photograh by Harold Edgerton, Belita Skating, c.1948-60?, vintage print [Female ice skater leaping] Physical description Black and white multiflash photograph of an ice-skater.

# data[].attributes.attachment_link.readable_text
Summary of Bridget Riley

Bridget Riley's geometric paintings implore the viewer to reflect on how it physically feels to look. Her paintings of the 1960s became synonymous with the Op Art movement, which exploited optical illusions to make the two-dimensional surface of the painting seem to move, vibrate, and sparkle. Grounded in her own optical experiences and not color theories, math, or science, Riley experiments with structural units, such as squares, ovals, stripes, and curves in various configurations and colors to explore the physical and psychological responses of the eye. Her paintings inspired textile designs and psychedelic posters over the decades, but her objectives have always been to interrogate what and how we see and to provoke both uncertainty and clarity with her paintings.

Accomplishments

Steeped in the paintings of the Impressionist, Post-Impressionists, and the Futurists, Riley dissects the visual experience of the earlier modern masters without their reliance on figures, landscapes, or objects. Playing with figure/ground relations and the interactions of color, Riley presents the viewer with a multitude of dynamic, visual sensations.

Riley's formal compositions invoke feelings of tension and repose, symmetry and asymmetry, dynamism and stasis and other psychic states, making her paintings less about optical illusions and more about stimulating the viewer's imagination.

While Riley meticulously plans her compositions with preparatory drawings and collage techniques, it is her assistants who paint the final canvases with great precision. Riley creates a tension between the artist's subjective experience and the almost mechanical feeling of the surface of the painting.

Riley's artistic practice is grounded in a utopian, social vision. She views her art as an inherently social act, as the viewer completes the experience of the painting. This belief in an interactive art led her to resist the commercialization, and in her mind, the vulgarization of Op art by the fashion world.

Important Art by Bridget Riley

Biography of Bridget Riley

Childhood

Bridget Riley was born in Norwood, London. Her father, John Fisher Riley, was a printer and owned his own business. He relocated his firm and the family to Lincolnshire in 1938 and when the Second World War broke out a year later, he was drafted into the army. While on active duty, he was captured by the Japanese and forced to work on the Siamese railway. He survived, but Riley remembers he was never the same. She recalls how "he had learned to live in a self-contained way, to isolate himself from what was around him."

During the war years, Riley was sent with her mother, sister and aunt to live in Cornwall, near the seaside town of Padstow. While she was there, she was given a great deal of freedom. Later she would claim that these early experiences roaming the countryside, spending hours watching cloud formations and the shifting light throughout the day, strongly informed her artistic practice.

Early Training

After attending secondary school at Cheltenham Ladies' College, she studied first at Goldsmith's college of art at the University of London (1949-1952), and then at the Royal College of Art, also in London, where she graduated with a BA in 1955. While there, she met fellow students Peter Blake and Frank Auerbach.

Being exposed to the London art scene for the first time, Riley found her studies at the Royal College of Art difficult, and she faced the dilemma most modern painters also experienced: "What should I paint, and how should I paint it?"

After leaving college, Riley returned to Lincolnshire to care for her father, who suffered from injuries sustained in a car accident. While there, she underwent a physical and mental breakdown. She returned to Cornwall in an attempt to recuperate, but the stay did little to revive her health. After returning to London in 1956, she was hospitalized for six months. During this period her artistic productivity diminished along with her weak health.

Mature Period

In 1956, Riley saw an important exhibition of American Abstract Expressionist painters at London's Tate Gallery. She returned to painting seriously again, exploring the lessons of Henri Matisse and Pierre Bonnard. The following year she was sufficiently recovered to take a job teaching art at a girls' school in Harrow, near London.

Two years later, in 1958, she left teaching to become a commercial illustrator. That year, visiting an exhibition on "The Developing Process," she became interested in the ideas of Harry Thurbon, a teacher at the Leeds School of Art. Thurbon was a proponent of a new form of arts education that moved away from romantic ideas of expression toward concrete skills, embracing a connection to professional contexts, such as illustration and design. Thurbon's ideas echoed the much earlier ideas of form and function taught at the Bauhaus, which was an important inspiration in early Op art.

Riley attended Thurbon's well-known summer school in Norfolk, where she met influential artist, writer, and educator Maurice de Sausmarez. The pair began an intense relationship, and with de Sausmarez acting as her mentor, Riley began to expand her knowledge of the history of art and culture. In 1960, the couple traveled to Italy, where Riley painted the countryside and took in the art of the Futurists, especially the paintings of Boccioni and Balla, as well as the frescoes of Pierro della Francesca, and the black and white Romanesque facades found on the churches of Ravenna and Pisa.

On her return to London, Riley synthesized her experiences into her first geometric patterned paintings. She continued to develop this new, bold abstract style over the next year. In 1962, in a legendary bit of luck, she took shelter from a sudden rainstorm in Victor Musgrave's London gallery, and he offered her a show. This first exhibition met with great critical acclaim, and over the following decade she was included in many of the well-known survey shows that came to define British painting in the 1960s, including the 1963 "New Generation" exhibition at the Whitechapel Gallery, London, with artists such as Allen Jones and David Hockney.

In 1965, Riley made her debut in the United States with a sold-out solo show at the Richard Feigen Gallery and with a prominent place in The Museum of Modern Art's influential exhibition of Op art, "The Responsive Eye." Unfortunately this rapid success led to one of the more difficult moments in her career. In later accounts, Riley recalled her drive from the airport to the museum, passing shop window after window with dresses whose fabrics were inspired by Op art or, in some cases, taken directly from her paintings. Despite the affinity between many Op art artists and the textile and design industries, she was dismayed by the commercialization of her work and claimed "the whole thing had spread everywhere even before I touched down at the airport." She tried to sue the designers of one of the dresses, but was unsuccessful. Riley said at the time that "it will take at least 20 years before anyone looks at my paintings seriously again."

Current work

While Op art's critical acclaim suffered in the United States due to its rapid commercialization, Riley continued to enjoy success in Britain. After 1967, Riley introduced color into her previously black and white paintings and has continued her explorations of form, color, and space to the present. In 1968, Riley worked with Peter Sedgley (her partner at the time) and Peter Townsend (a journalist) to create SPACE, an artists' organization that assisted artists looking for studio space and fostered community.

In 1981, Riley traveled to Egypt. She was moved by the dynamic use of color in ancient Egyptian art, saying that "the colors are purer and more brilliant than any I had used before." She was fascinated by the way Egyptian artists managed to use only a few colors to represent what she described as the "light-mirroring desert" around them. Her paintings after this trip contained a freer arrangement of colors than she had previously used and a palette inspired by the Egyptian art she had seen.

In the later 1980s and 1990s, Riley completed a number of large-scale, site-specific commissions. For example, in 1983 Riley painted a series of murals on the interior of the Royal Liverpool Hospital. The color scheme she chose was intended to make the patients calmer, and the murals significantly lowered the rates of vandalism and graffiti within the hospital.

Riley continues to produce art today. She works from several studios, including in her home in South Kensington, where four out of the five floors are dedicated to artistic production. Although Op art's visibility diminished over the last decades, Riley's example of pursuing tradition and innovation has inspired a younger generation of painters seeking to enliven the medium.

The Legacy of Bridget Riley

Riley became an icon, not just of Op art, but of contemporary British painting in the 1960s, and she was the first woman to win the painting prize at the Venice Biennale in 1968. Riley's innovations in art inspired a generation of Op artists, including Richard Allen and Richard Anuszkiewicz. Due to the abstract geometric nature of much of her work, she has also been cited as an influence for many designers, including the well-known graphic designer Lance Wyman, whose work on the Mexico 1968 Olympic Games shows a strong correlation with Riley's aesthetic.

She also had an impact on a diverse number of artists associated with the YBA movement, including Damien Hirst and Rachel Whiteread. Even if artists aren't influenced by her abstract style, they cite her intelligence and perseverance in an ever-changing art world as a model.

The organization that she founded in 1968 with friend and fellow Op artist Peter Sedgley, SPACE, which helps artists find studio space and fosters a community of creative individuals, continues today in London.

Influences and Connections

Useful Resources on Bridget Riley

Similar Art

# data[].attributes.attachment_link.description
Bridget Riley's geometric paintings implore the viewer to reflect on how it physically feels to look.

# data[].attributes.attachment_link.description
2016. 9. 14 - ARTSTHREAD is the leading digital platform for emerging designers and artists. A launchpad for the next generation of creative talent representing 400,000 students in more than 150 countries from over 950 design schools.

# data[].attributes.attachment_link.title
Inspiration | Anderson Wier | Full-Service Design Firm in Washington, DC

# data[].attributes.attachment_link.description
Discover the aesthetic references currently inspiring Anderson Wier Studio and influencing their artful, layered, and authentic approach to interior design.

# data[].attributes.attachment_link.readable_text
Last Sunday I took my grandson back home as it was the end of half term. He enjoyed very much playing with my Wii Fit Plus. Forgot to take a picture from him playing with it, but I have this one...

In between the painting, I try to do some weaving. I've made another ondulé warp, intended for my local Guild exhibition next Spring. It's not going very fast but at least I can weave a bit when I want to.

I have a day light lamp attached to the loom together with a led light (just above the heddles) that I bought recently.
It makes a difference to have both lamps on:

I've made photos (without flash) of the woven cloth with the different lighting.

Above photo is just the day light lamp on.

Above photo is just the led light on.
Not sure if the differences are clear to see in these photos.

The yarn I'm using is a fine Tencel for both warp and weft. I designed the warp using 7 fans in the reed. Like in the blue warp I'm weaving tabby in 4 columns (fans) and the columns (fans) in between are woven twill. The sett for tabby is correct, for the twill it's a bit to spaced out but I like it together. The warp is just enough for one scarf.

The exhibition that we are holding next Spring with my local Guild has the limitation that we use just white yarns. The thought behind this is that there will be a unity together. We are allowed to have accents of silver or transparent yarns.
My intention had been to weave something with texture. But I'm just hooked using the ondulé reed and I think this will be different. May be I'll get around to weaving another piece.

The weather is getting colder now, the outdoor painting will end when the frost comes. I'm hoping to finish the front of the house and the back will have to wait until Springtime.
I was also able to clean the gutter, having the scaffolding there. But there were quite a few wasps there in the gutter and one managed to sting me, despite me being very careful. That was 2 days ago and it's still bothering me.
When the painting ends, it will give me more time (and energy) to weave again ;-)

# data[].attributes.attachment_link.description
Last Sunday I took my grandson back home as it was the end of half term. He enjoyed very much playing with my Wii Fit Plus. Forgot to take a...

# data[].attributes.attachment_link.readable_text
Cotton, silk, mohair, glass seed beads, nylon cord, metallic lurex

32" wide x 42" tall

SOLD

Cotton, silk, mohair, glass seed beads, nylon cord, metallic lurex

32" wide x 42" tall (each)

SOLD

Cotton tape yarn warp, silk, nylon cord, seed beads. 26" wide x 36" tall
SOLD

# data[].attributes.attachment_link.description
Cotton, silk, mohair, glass seed beads, nylon cord, metallic lurex 32" wide x 42" tall SOLD Cotton, silk, mohair, glass seed beads, nylon cord, metallic lurex 32" wide x 42" tall (each) SOLD Cotton tape yarn warp, silk, nylon cord, seed beads. 26" wide x 36" tall SOLD

# data[].attributes.attachment_link.readable_text
(photo credits: Stephanie Land)

Momentum Gallery inaugural artist, Crystal Gregory, is a fiber artist and sculptor dividing her time between Brooklyn, NY and Lexington, KY. She received her BFA from the University of Oregon and her MFA from the Art Institute of Chicago via a full Merit Scholarship. Gregory's seemingly weightless sculptures often explore the feminine qualities of fiber juxtaposed with the masculine qualities of industrial materials like concrete and iron. The artist recently completed a residency with the Josef and Anni Albers Foundation, where she explored the limits of fibers and the history of the widely celebrated material in a collection of new works.

Josef and Anni Albers are known for their impressive work with the Bauhaus School, an early 20th-century Avant-Garde school in Germany focusing on innovative design and crafts, and Black Mountain College, a school outside Asheville that incubated a number of the most progressive and influential creatives in the mid-20th century. Crystal Gregory is particularly inspired by renowned fiber artist, Anni Albers, known for blurring the lines between traditional craft and art. Anni was first a student of weaving at the Bauhaus and later invited onto the faculty, helping to propel the weaving department to world-class standards.

With World War II approaching, the Bauhaus closed its doors in response to harsh regulations under Nazi regime. Upon immigrating to the US, Josef and Anni Albers were invited to join the faculty of Black Mountain College where they ultimately encouraged students to experiment with materials and push the boundaries of craft. Anni founded the weaving workshop at BMC, and while writing, teaching, and making art herself, she introduced a new type of curriculum, defined by John Dewey's exhortation to "learn by doing."

Crystal Gregory's residency in the summer of 2019 delved into the works of Anni Albers and a portion of her research was conducted here in Asheville at The Black Mountain College Museum + Art Center. Having just completed this residency, Gregory is excited to share some thoughts on and the inspiration behind her latest series.
MG: When did you first know you wanted to be an artist?
CG: I have always been curious about and driven to make things, but it wasn't until I moved to New York City that I understood it as an identity, a career, and a lifestyle. New York City was a completely liberating and compelling place to spend my 20s. The people I met and love there are driven and passionate and excited to pursue their dreams. This energy ignited a confidence in me that I hope to pass forward.
MG: What first drew you to working with fiber and concrete? Is there a particular message you think these materials convey individually and together?

CG: My work uses cloth construction as a fundamental center, a place to start from and move back to. With a background in weaving, I see myself as a builder. I draw a clear connection between the lines of thread laid perpendicularly through a warp and the construction of architectural spaces.

In The Pliable Plane, ​ Anni Albers considers architecture in relationship to woven textile. If the nature of architecture is the grounded, the fixed, the permanent, then textiles are its very antithesis. If, however, we think of the process of building and the process of weaving and compare the work involved, we will find similarities despite the difference in scale. Functionally, both divide space and create shelter. Both are created from individual parts which retain their identity - brick by brick or thread by thread. Textile, however, has the advantage of flexibility. It is a semi two-dimensional plane that has the ability to be folded, draped, moved, and changed to its surroundings. It is pliable. It is moveable.

In these works, I challenge myself not only formally and technically but as a thought exercise. Both materials are drenched in collective experience. We know and understand these materials because they surround us in our everyday. Maybe because of this familiarity they are charged with specific identities; hard/soft, strength/pliability, cold/warmth. Through our materials we come to understand these words; to wrap our experiences in them to use them in speech to express to one another. My work is to go deep into these understandings and try to tease out how they color our world, our relationships, and our attitudes.
MG: Were there any challenges with finding a way to engineer fibers and concrete to coexist so seamlessly?
CG: Definitely. I have been working in this series (among others) for over five years now. In that time, I have learned a lot about both materials. Weaving is a forever process and although I have been weaving for almost fifteen years, I only obtain a drop in the well of her vast knowledge. She keeps teaching me every time I come to the loom. Concrete is an antithetical process to that of weaving. Where one is slow and meditative the other is fast and unforgiving.
MG: You've also explored glass as a material. Can you tell us about those experiences?
CG: I was so thrilled to have been invited to be an artist in residence at Corning Museum of Glass in March of 2018. There I worked with a team of glass blowers headed by Eric Meek to produce of series of glass textiles. I was interested in working in glass as a vehicle to think through the similarities between the properties of glass and those of textiles - structure, pliability, strength, translucency, vulnerability. Through this comparison important and interesting embedded understandings surfaced.

What has become interesting to me was thinking of these forms in the relationship to the ​ hand​ of a fabric. The hand of a fabric refers to the feel of the fabric against your skin. There are many adjectives that can be used to describe the hand, or feel, of a fabric. Words like ​ cool, slick, smooth, loose, stiff, heavy,​ and ​ stretchy ​ can all be used to tell someone about the hand of a fabric. In relation to glass these adjectives talk about not only the material process, but the relationship between the material and the body.

The result of this work were five pieces that resembled folded and stacked fabrics. The series undulated color and patterns mimicking those of woven fabrics but in a cool hard and breakable material.
MG: You received a full merit scholarship for the Art Institute of Chicago for your MFA, how did that program impact your work?

CG: My grad school experience shaped my life as well as my art practice. I was able to work with incredible artists and now mentors like Anne Wilson, Christine Tarkowski, ​Diana Guerrero-Maciá as well as a truly wonderful group of peers. Those two years in Chicago challenged me in ways I could never have expected, and I believe are still teaching me.
MG: You teach at the University of Kentucky; do you have a favorite lesson or piece of advice you give to your students?
CG: Every day and every person is different, which is part of what makes teaching interesting. I do love to teach weaving though. I find that people can lean on the structure and the rhythm of making a cloth to find a certain freedom. It takes time, concentration and focus and through that practice many unconscious ideas arise. The textile is often only the vehicle that allows you to tap into what is deeper.
MG: Is there a particular material you would like to work with more in the future?
CG: I have been thinking a lot about the knitting machine and looped structures. I love the metaphor it builds of making a plane out of a single line. The grace it captures through this shapeshift. It bends and folds back on itself making interlocking loops that work together to form a material with elasticity.
MG: What do you hope clients and viewers will take away from your work?
CG: I don't know if I have a good answer to this question. Making to me is very personal and I think looking is as well. We all come to our present moment through a history of experiences. And use those experiences to understand the moment. My work, I believe, lives in a realm of universal experiences because of the materials I choose. I guess I hope to draw attention to that by representing them to the viewer in an unfamiliar way, allowing for a re-recognition whatever that means to the individual.
MG: Can you tell us a little bit about your recent residency at the Joseph and Anni Albers Foundation?
CG: June and July (2019) were spent as artist in residence at the Albers Foundation. The Foundation maintains two residential studios for visiting artists who exemplify the seriousness of purpose that characterized both Anni and Josef Albers. Residencies are designed to provide time, space, and solitude, with the benefit of access to the Foundation's archives and library. Residencies are awarded by invitation and by application.

My time at this residency was entirely focused on thinking and making and for that was extremely productive. There I competed a new body of work of woven concrete constructions which will be exhibited across the country as well as in the Netherlands over the next 6 months.

I also had the time and space to develop a new project titled ​ Pliable Plane ​. This project is a collaboration between a modernist dance group, the Moving Architects, and myself. The work is of a monumental scaffolding structure interwoven with a complex textile. The dancers will interact and change the shape and environment of the sculpture through movement.
MG: What originally inspired you about the work of Anni Albers? What did you learn at Black Mountain College and Arts Center?
CG: Anni Albers was and continues to be a hugely influential artist not only because of her works, but because of her philosophies, the way she wrote and the ways she taught. From Bauhaus to Black Mountain College, Albers was an advocate for experimentation and invention not only in the field of art but also in education.

With a grant from the Great Meadows Foundation ​I traveled to Asheville, NC in March of this year. During my time there I was able to visit the exhibition, ​ Politics at Black Mountain College ​, which looked closely at "​the politics surrounding the college and its controversial faculty and students." This exhibition was inspiring and gave world context of how and why this revolutionary school developed at that point in history. The exhibition looked at global politics and how with WWII being fought in Europe, the school was able to create a place that held space for the cultivation of creativity and experimentation. The exhibition looked at race and gender politics within the context of the school as well as within the American South during the 1930's and 40's.

On the second day, I got to spend an afternoon visiting with the program director Alice ​Sebrell​. Alice is incredibly passionate about Black Mountain College and spent time showing me the textiles that came out of the weaving studio. This was a highlight of my trip.

What interested me the most in my visit was a notebook kept by one of Anni Albers students while at Black Mountain College. The notebook was a clear articulation of different woven interlacements, drafts and notes on content of the class. This was such a wonderful object to get to spend time with. It allowed me insight into how Albers' philosophies on weaving were presented within a course of study. I teach a course titled ​ Woven Structure ​ at the University of Kentucky, and I look forward to sharing this with my students.

MG: Is there a particular work of Anni's or moment in her career that speaks to you the most?
CG: That is a great question. This answer might change over the years, but for now it is no. I am inspired by the wholeness of her career. Her persistence, her process and her dedication as her focus undulated from weaving to writing to print and back again. I admire her insight and ability to go deeply into what she studied.
MG: Is there anything you would ask Anni if she were still alive?
CG: I believe it would be my job in that relationship to listen. I think that may be the most profound thing she taught, even if she never quantified it in those terms. She asked herself, her readers, her students to listen to the materials and respond to what they are saying. This is a forever challenge not to be overlooked.
MG: What do you think a major takeaway from this project was and how do you think it will impact your future work?
CG: My time at the Albers Foundation was incredibly grounding. My goal is to take with me that level of insight and the silence it takes to do the work and to do the listening back into my hectic day-to-day life.
MG: Thank you for your time, Crystal.

# data[].attributes.attachment_link.description
(photo credits: Stephanie Land) Momentum Gallery inaugural artist, Crystal Gregory, is a fiber artist and sculptor dividing her time between Brooklyn, NY and Lexington, KY. She received her BFA from the University of Oregon and her MFA from the Art Institute of Chicago via a full Merit Scholarship.

# data[].attributes.attachment_link.description
Shifting and reflecting colour as you move past, light is transformed into movement.

# data[].attributes.attachment_link.title
斎藤悠奈 on Instagram: "도자를 시작했을 무렵, 만든 꽃병에 채워졌던 물이 병에 스며들었다. 물이 홀러나와버린 꽃병은 꽃병으로서는 실패작이었다. 하지만 기물 안에 멈춰있던 물이 시나브로 꽃병에 흡수되고 방출되는 모습에서 생명력을 느꼈다. 
　자연물인 흙은 사람의 손을 거치며 인공물인 도자기가 된다. 고온을 견딘 도자기는 견고해지며 녹슬거나 부패하지 않는 한편 인공물로서 변하지 않는다는 인식도 있다. 하지만 인공물이라 해서 변하지 않는 것은 아니며 처한 환경에 영향을 주고받는 자연성을 갖고 있다. 
　나는 도자기의 흡수성을 시각화함으로써, 도자기에 내재된 자연성을 표현하기 위해, 염료를 섞은 물을 도자 기물에 담고 그 밑에 캔버스를 두어 수일에 걸쳐 물이 흡수되고 방출해 나가는 과정을 기록한다. 그날그날의 습도와 온도에 따라 달라지는 기물이 흡수한 자취를 염료를 통해 남겨지는 작업을 한다.
사이토유나

#craft #crafrart #도예 #도자회화 #現代陶芸"

# data[].attributes.attachment_link.description
4,163 likes, 16 comments - yuna_ceramics on November 16, 2023: "도자를 시작했을 무렵, 만든 꽃병에 채워졌던 물이 병에 스며들었다. 물�..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by 斎藤悠奈 (@yuna_ceramics)

# data[].attributes.attachment_link.title
Svenskt Färgcentrum on Instagram: "More from the yearly workshop day for teachers of Colour theory and practise at design, architecture and art schools, supporting them in their work and building community. This year We’re hosted 🙏🏼 by @textilhogskolan in Borås. What an amazing, colourful, collaborative day! ❤️💗💙✅☀️"

# data[].attributes.attachment_link.description
68 likes, 0 comments - svensktfargcentrum on October 21, 2023: "More from the yearly workshop day for teachers of Colour theory and practise at design, architect..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Svenskt Färgcentrum (@svensktfargcentrum)

# data[].attributes.attachment_link.title
Studio RENS on Instagram: "Over a course of time, the material gradually paints itself - tinted by the interplay of clay, dye and glaze 

#colourtraces #rensxcorunum #ceramics #ceramicart #wallart #objectdesign"

# data[].attributes.attachment_link.description
96 likes, 3 comments - studiorens on July 12, 2023: "Over a course of time, the material gradually paints itself - tinted by the interplay of clay, dy..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Studio RENS (@studiorens)

# data[].attributes.attachment_link.title
ℙ𝕒𝕥𝕥𝕪 𝕧𝕒𝕟 𝕕𝕖𝕟 𝔼𝕝𝕤𝕙𝕠𝕦𝕥 on Instagram: "SHADOW DANCE

A study on how light reacts on textured woven surfaces. Inspired by photography,
the art of capturing light. Without light nothing is visible, but when you add light to the textured surface contrast starts appearing. The three-dimensional forms block the light’s path and change the way the shadows appear. Light makes the shadows dance. They move with the time of the day or change when different light sources are added.

The big textile piece at the end of the video is woven at the @textielmuseum 

Waste paper strips from @fototainer 

#textiledesign #shadowdance #shadows #photography #contrast #dae #designacademyeindhoven #textilemuseumtilburg"

# data[].attributes.attachment_link.description
87 likes, 16 comments - patty_van_den_elshout on January 26, 2023: "SHADOW DANCE

A study on how light reacts on textured woven surfaces. Inspired by photography,
th..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by ℙ𝕒𝕥𝕥𝕪 𝕧𝕒𝕟 𝕕𝕖𝕟 𝔼𝕝𝕤𝕙𝕠𝕦𝕥 (@patty_van_den_elshout)

# data[].attributes.attachment_link.title
Pavlovpulus | Pablo Azócar A. on Instagram: "I kept adding disruptive elements into the mix .. the unmatching colors, the calculated “mistakes”, the missing circle and all the things that makes uncomfortable but I’m starting to like.
#art #penplotter #arte #abstract #ink #circles #relaxing #satisfying"

# data[].attributes.attachment_link.description
853K likes, 1,408 comments - pavlovpulus on October 7, 2023: "I kept adding disruptive elements into the mix .. the unmatching colors, the calculated “mistak..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Pavlovpulus | Pablo Azócar A. (@pavlovpulus)

# data[].attributes.attachment_link.title
Nico Kok (Dutch, b.1954) on Instagram: "Hans Haacke (German, b. 1936), Blue Sail,1964-65,
Chiffon, oscillating fan, fishing weights, and thread
Francisco Museum of Modern Art @sfmoma

If wind blows into a light piece of material, it flutters like a flag or swells like a sail, depending on the way in which it is suspended.... A common pulse goes through the membrane. The swelling on one side makes the other side recede; tensions arise and decrease. The sensitive fabric reacts to the slightest changes of air conditions. A gentle draft makes it swing lightly; a strong air current makes it swell almost to the bursting point or pulls so that it furi- ously twists itself about. Since many factors are involved, no movement can be precisely predicted. The wind driven fabric behaves like a living organism, all parts of which are constantly influencing each other."

-Hans Haacke, August 1965

#hanshaacke #conceptualart #conceptualartwork #eventart #environmentalart #sfmoma #germanartist #germanart"

# data[].attributes.attachment_link.description
44K likes, 159 comments - nicokokartinspiration on October 20, 2023: "Hans Haacke (German, b. 1936), Blue Sail,1964-65,
Chiffon, oscillating fan, fishing weights, and ..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by Nico Kok (Dutch, b.1954) (@nicokokartinspiration)

# data[].attributes.attachment_link.title
ODD. on Instagram: "ODD Ball. Music made playful 
😵‍💫⚽️. 🎸🔨🃏

#oddballism #music #dj #beats #play #musicplay #producer #green #swag #new #london #tech #techno"

# data[].attributes.attachment_link.description
57 likes, 4 comments - oddballism on March 3, 2022: "ODD Ball. Music made playful 
😵‍💫⚽️. 🎸🔨🃏

#oddballism #music #dj #beats #pla..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by ODD. (@oddballism)

# data[].attributes.attachment_link.title
TraceLoops on Instagram: "July 20, 2023"

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by TraceLoops (@traceloops)

# data[].attributes.attachment_link.title
The Hole on Instagram: "Thomas Trum’s mesmerizing murals are coming to Los Angeles! 

Stay tuned for 2024 at the LA 🕳but 4 now enjoy some recent work, Downtown Miami for Dior, Daily Spins at the Het Noordbrabants Museum & installs from “Loops” Trum’s New York debut and solo on Bowery. @thomastrum #thehole #🕳"

# data[].attributes.attachment_link.description
9,844 likes, 82 comments - theholenyc on November 3, 2023: "Thomas Trum’s mesmerizing murals are coming to Los Angeles! 

Stay tuned for 2024 at the LA �..." 

# data[].attributes.attachment_link.embed_code
View this post on Instagram

A post shared by The Hole (@theholenyc)

# data[].attributes.attachment_link.readable_text
By 'listening' to and sharing our bio data we are confronted with our human dimension. Reconnecting through our heartbeat and breath, we realize our ephemeral and unique presence in that very moment.

Made by Adam Seid Tahir

# data[].attributes.attachment_link.title
Digital Umbilical - a piece by Body Intelligence Collective

# data[].attributes.attachment_link.description
Digital Umbilcal is a dance piece exploring the intimacy and connection between performer and audience.