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| Ogre's Wife Wire and Plastic variable dimensions 2009 mireillevautier.com |
Thursday, May 26, 2016
Jennifer Rubell, Artist, b. 1970, works in New York City
The de Pury Diptych
June 21, 2010
On the first floor, arranged in a grid are 69 full-size mattresses, made up sloppily with white sheets, loosely referencing Tracey Emin's My Bed. Silver platters of bloody roast beef, beets, big salads, potatoes, asparagus are divided among the beds. Next to each bed are a few bottles of wine and water; a few cases of Jack Daniel’s at others; glasses in their cartons, forks, knives; paper towels.
Note: The above installation and statement are part of a larger event. To see and read more, go to artist's website. Link below.
Tuesday, May 24, 2016
Sunday, May 22, 2016
Rodney McMillian, b. 1969, USA
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Above images and text source blog.art21.org
From Asterisks in Dockery, 2012
Red Vinyl
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| Untitled (2009)
McMillan has impaled a familiar IKEA chair with a giant black tube—evoking a sort of industrial-scale phallus enacting sexual violence against a mainstay of bourgeois décor.
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| For Couch (2012)
McMillan severed a sateen sofa and pasted it together with a thick band of cement.
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Saturday, May 21, 2016
Kristina Falck, Designer
I have made everyday objects. For the imagination and for the table.
A composition in which I have worked with function and play.
In ceramics.
Source link here.
J I N hyun Jeon, Sensory Cutlery Collection, 2012
Watch Sensory Dining Experience, Click here Vimeo
Cutlery design focuses on getting food in bite-sized morsels from the plate to the mouth, but it could do so much more. The project aims to reveal just how much more, stretching the limits of what tableware can do. Focusing on ways of making eating a much richer experience, a series of dozens of different designs has been created, inspired by the phenomenon of synesthesia. This is a neurological condition where stimulus to one sense can affect one or more of the other senses.
An everyday event, ‘taste’ is created as a combination of more than five senses. Tasty formulas with the 5 elements – temperature, color, texture, volume/weight, and form – are applied to design proposal. Via exploring ‘synesthesia’ if we can stretch the borders of what tableware can do, the eating experience can be enriched in multi-cross-wiring ways. The tableware we use for eating should not just be a tool for placing food in our mouth, but it should become extensions of our body, challenging our senses even in the moment when the food is still on its way to being consumed. Each of designs have been created to stimulate or train different senses – allowing more than just our taste buds to be engaged in the act and enjoyment of eating as sensorial stimuli, therefore it would lead the way of mindful eating which guides to rediscovering a healthy and joyful relationship with food.
The materials in the design currently compose of metal, plastic and ceramics. Each material possesses its natural temperature, which works in harmony with the intent of the design. From the thickness of the handle to the volume mass of the spoon, it evokes a different effect. Weight distribution changes according to the thickness and the volume affects the sound vibration. Each of these features is subtle but in combination, they harmonize into enhanced tasty effects. As for the specific workings of the features of the design, it could be understood through the elaboration of the five elements – temperature, color, texture, volume/weight and form.
Enhanced Tasty Formulas
Temperature
SWEET × 36.5°C = SWEET × +++
SALTY × < 36.5°C < SALTY × < 0°C
SOUR × 36.5°C = SOUR × 100°C
BITTER × 36.5°C > BITTER × 100°C
Tactility
+++ × (SWEET + SALT) = X
SWEET + (0.5% × SALT) = SWEET ++
SALT ÷ SOUR = SALTY/SOUR -
SALTY × SOUR = SWEET +
Colour
10% × (5R 4/14 ＋ 5YR 4/14 ＋ 5Y 4/14) = 2.0
90% × (5R 4/14 ＋ 5YR 4/14 ＋ 5Y 4/14) = 0.1
20% × R > 20% × Y
Volume/ Weight
5cm3 × SOUND/ SIGHT = 10g × TOUCH
Form
1mm × TOUCH > 10mm × TOUCH
(y=f(x)) × TOUCH = Y
Designer Jinhyun Jeon was born in South Korea, based in Eindhoven, the Netherlands. Jeon received BA in Product Design and completed MA in Spatial Design at Hongik University, Seoul, Korea in 2008. She moved to the Netherlands, gained MD in Social Design from Design Academy Eindhoven in 2012 and established Studio Jinhyun Jeon. jihyun.com
Edible Zen Garden
The Shinan-ji Temple Rock Garden is a unique collaboration between art directors Tomonori Saito, Shohei Sawada and Japanese confectioner Motohiro Inaba.
Named after a fictional temple, this miniature zen rock garden is made entirely from sweets. The rocks are made from black sesame paste, dusted at the base with matcha powder (to look like moss), and placed in a bed of sugar (resembling sand). A small wooden rake is also supplied in the candy box, to add a zen-like ambiance to this edible garden.
Vicky Lau’s edible “Zen Garden”.
For Hong Kong chef Vicky Lau, owning a restaurant isn’t just about making money or creating visually-stunning dishes for that 15 minutes of fame. A graphic designer turned critically-acclaimed chef, restaurateur and, most recently, Veuve Cliquot Asia’s Best Female Chef 2015, Lau still believes there’s much to be explored.
“Do we really need to sit at a restaurant nowadays?” she mused. “With the Hong Kong real estate being so expensive, maybe a restaurant doesn’t really need an address.” This is something Lau is beginning to explore with Butler, a bespoke luxury catering service she launched back in September 2014, which also hosts stunning ‘food’ exhibitions.
Ryan Fletcher, Designer for Achatz and Dufresne
Presentation is everything for chefs. Not only does their food have to taste delicious but it has to look good as well. Sometimes it can be hard for chefs like Grant Achatz and Wylie Dufresne to plate their molecular creations.
In the past, Achatz and his staff have partnered with designers to create their own utensils - like the porthole. That's where the talent of designers like Ryan Fletcher can come in handy.
Fletcher has created a line of tiny plates for plating petite portions.
His line of Tapas Micros is made of porcelain and perfect for tasting menus like those offered at The French Laundry. Here's how he describes his work:
''My ceramic forms originate from standard functional objects like a spoon, or bowl, cup, or plate while seeking to challenge a preexisting understanding of that object and it’s function. I try to engage the user by creating a moment where they must stop and rethink how they will interact with the object.''
You can check out Fletcher's full line of Tapas Micros plates on his website.
Isamu Noguchi, 1904 - 1988, American
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| Three Legged Vase 1952 |
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| Isamu Noguchi and Yamaguchi Yoshiko Kita Kamakura 1952 |
Wednesday, May 11, 2016
Edgar Endress, Artist
Remnants is an ongoing project that looks into tchotchkes—porcelain items left in thrift stores or antique
shops. I approach tchotchkes as found objects and as a source of material. Through fragmentation and
extraction of the original materiality and through reassembling porcelains together to create new artifacts,
a simulacra results that is distinctive from its original function and context. This project considers the
porcelain tchotchkes through Walter Benjamin’s concept of ruins: what survives and what remains are
ghostly experiences, out of place and out of context, their sacred notion is lost, only melancholies
alienated from the here and the now remain.
shops. I approach tchotchkes as found objects and as a source of material. Through fragmentation and
extraction of the original materiality and through reassembling porcelains together to create new artifacts,
a simulacra results that is distinctive from its original function and context. This project considers the
porcelain tchotchkes through Walter Benjamin’s concept of ruins: what survives and what remains are
ghostly experiences, out of place and out of context, their sacred notion is lost, only melancholies
alienated from the here and the now remain.
Finding the Baroque
Tuesday, May 10, 2016
Greg Lookerse, Artist
With chalk I drew concentric circles on several stones in the brook at Zeleny Les. While at Zeleny Les the idea of the passage of time was prevalent in all of the land. Human intervention and shaping of nature was seen around every bend.
While contemplating the passage of time I was drawn to the use of circles and their similarity to tree rings.
I attached the title page of Faulkner’s text with a water soluble glue. It rained the very next day.
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