Andrea Trimarchi and Simone Farresin

formafantasma
flos

Italian designers Andrea Trimarchi and Simone Farresin make up Amsterdam-based studio Formafantasma. Trimarchi and Farresin met while studying in Florence. They later studied a masters degree at Design Academy Eindhoven, setting up Formafantasma after graduating in 2009. The studio explores issues such as the relationship between tradition and local culture, the significance of objects as cultural conduits, and adopts critical approaches to sustainability.

Andrea Trimarchi and Simone Farresin

on clocks

Helen Pashgian

LIGHT

 

“Helen Pashgian is a pioneer and pre-eminent member of the California Light and Space Movement. Her signature forms include columns, discs and spheres in delicate and rich coloration, often with an isolated element suspended, embedded or encased within. Pashgian’s innovative application of industrial epoxies, plastics and resins effect semi-translucent surfaces that simultaneously filter and contain illumination. Activated by light, these sculptures resonate in form and spatiality, both inner and outer.” Dimitris Lempesis

 

Kyle & Liz Von Hasseln

Phantom Geometry
“We are developing a system of moving streaming information through space, in the form of light, to generate material form. This system is a full-scale, generative fabrication process that is innately non-linear, is interruptible and corruptible at any time, and does not rely on periodic flattening to 2D. Light is the medium for data in our system. There resident data can be drawn through physical space, at full scale, to generate a photographic artifact, or to instantiate material form through the selective polymerization of proximal photo-responsive resin. This thesis, then, begins to investigate a design paradigm centered on the material reification of light. That paradigm questions the supremacy of the digital model, and the static flattening and stacking logics inherent to typical fabrication workflows. It is part of a conversation about representation, about the role of the designer, and about the way we make.”

GEBHARD SENGMÜLLER

parallel image
This work consists of 2500 magnetic wire cables that connect an emitter (one square meter made of epoxy resin) that consists of a 50 × 50 grid with photo sensors that have their counterparts in the receiver with a grid of bulbs. Thus the sensors detect the light and transmit in parallel each pixel (“image element”) with its corresponding brightness effect to the light bulb in the receiver. Unlike conventional electronic image transmission procedures, “A Parallel Image” uses a technologically transparent procedure, transmitting to the viewer a correspondence between the real world and its transmission.

RASA SMITE & RAITIS SMITS

Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).

Marc Quinn

A Surge of Power
Within 24 hours Marc Quinn’s statue A Surge of Power (Jen Reid) 2020 has been erected in secret on a Bristol plinth and as quickly removed by the council. Life-sized, cast in black resin, it showed the campaigner Jen Reid standing, one fist raised, in a pose in which a photographer had captured her a few weeks earlier when she had stood on the empty plinth after Black Lives Matter (BLM) protesters tore down a bronze monument to the 17th-century slaver Edward Colston.

hyungkoo lee

x
Based in Seoul, he is dedicated to creating fictional resin skeletons, mixing art and science, but from the point of view of pure aesthetic invention.

Heatherwick Studio

Friction table
This table is made from resin-infused paper, which is incredibly durable, highly sustainable and one of the few materials stable enough to achieve the level of precision required. At 1.8 metres when in its round form and 4 metres when extended to its longest ellipse, the Friction Table can seat groups of eight.

DEWAIN VALENTINE

CIRCLE BLUE
Influenced by the seascapes and skies of Southern California, Valentine was an early pioneer of using industrial plastics and resin to produce monumental sculptures that reflect and distort the light and space that surround them. For Valentine, a smooth surface was the whole point of the work and he did not want it to look old. While he was teaching a course in plastics technology at UCLA in 1965, he wanted to produce a polyester resin in large volumes that would not crack from curing.

Amy Brener

艾米布雷纳
Эми Бренер
Sickle

A artista Amy Brener desenvolveu um método de camadas de resina para criar esculturas sensíveis à luz. A produção dessas obras envolve uma técnica de mistura intensa de resina pigmentada despejada em estruturas de madeira. Brener experencia dentro deste processo fluido de camadas e incorporação, todas as surpresas que ocorrem. O resultado final é um objeto que se revela continuamente para o telespectador. As esculturas de Brener ganham vida enquanto você se move em torno delas, mudando a cada alteração de luz. Suas formas são em escala humana. As suas superfícies são crostas complexas que parecem ter rachado, cristalizado e resistido com o tempo.

CHOI XOO ANG

최수앙
Choi Xoo Ang is an emerging mixed media artist based out of Seoul, South Korea who creates figurative sculptures out of clay and resin that examines human rights, society’s pathological state, and sex and gender politics among other themes.

Daniel Arsham

다니엘 아샴
ДАНИЭЛЯ АРШАМА
Rose Quartz Eroded Guitar

Véritable sensation dans le renouveau de l’art moderne américain, Daniel Arsham est un peintre et sculpteur new yorkais qui aime à se jouer des illusions dans ses oeuvres. Après ses sculptures en résines ou bien encore son installation igloo, l’artiste crée des sculptures figuratives dissimulées sous un effet drapée pour stimuler l’imagination du spectateur.

Caroline Ziegler and Pierre Brichet

canapé couette
French design duo caroline ziegler + pierre brichet of brichetziegler have created ‘canapé couette’, a sofa wrapped in a single piece of fabric. The wood and resin structure is enveloped by a quilted cotton duvet. The strategically placed folds add the form of arms and a headrest. Colorful stitching creates an unexpected rhythm chart, emphasizing the direction in which the textile was folded.

CHOI XOO ANG

최수앙
Listener

Choi Xoo Ang is an emerging mixed media artist based out of Seoul, South Korea who creates figurative sculptures out of clay and resin that examines human rights, society’s pathological state, and sex and gender politics among other themes.

LOUP SARION

Surrounded
“The artist soaked rags simple in resin in order to freeze the time. The use of basic household items highlight the concept of life domestic in contemporary art and refers to the artistic theme of the readymade Duchamp.” – Backlash Galler

JOHN MCCRACKEN

ДЖОН МАК-КРАКЕН
约翰·麦克拉肯
ジョン·マクラッケン
Untitled (Black Block)

John McCracken (1934-2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for.

Don Brown

Yoko VIII
The sculpture is one of a series of works Brown began making in 1999 using his wife as a model. All the works are made to scale using Yoko Brown’s exact measurements; the sculptures vary between half and three-quarter scale. They are all cast in the same white acrylic composite resin but the figure is variously dressed and posed in each. more

REBECCA STEVENSON

Ребекка Стивенсон
ريبيكا ستيفنسون
丽贝卡·史蒂文森
sweet shell

Le sculture figurative di Rebecca Stevenson sono allo stesso tempo inquietanti e belle. Usando principalmente poliresina e cera, il suo concetto di solito inizia con una figura umana o animale proiettata in un tenue colore monocromatico che poi sembra sbocciare o decadere con varietà di composti organici multicolori. Questi fiori consumano quasi le figure, dando vita a sculture provocatorie e surreali. Il suo lavoro incarna il processo di creazione e distruzione, rivelando la bellezza che emerge da questo ciclo organico. Alcuni mi ricordano di camminare per i pascoli della fattoria quando ero più giovane e di scoprire vari teschi di animali attraverso i quali l’erba aveva cominciato a arrampicarsi. Se il suo lavoro disturba, è solo perché non cerca di mascherare la macabra bellezza del processo di crescita / decadimento. “Il mio lavoro riguarda il viscerale e il sensuale. Si basa sul disegno anatomico e sull’illustrazione botanica, ma occupa un territorio liminale tra l’indagine scientifica e il corpo immaginario e soggettivo. “

Kevin Beasley

Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.

anish kapoor

阿尼什•卡普尔
アニッシュ·カプーア
АНИШ КАПУР
paints fleshy resin silicone series

REIN VOLLENGA

Con la passione per la specialità di opere uniche, i pezzi che crea sono in parte assemblati da oggetti trovati prodotti in serie che potremmo riconoscere dalla nostra vita quotidiana ed esistono solo come pezzi unici di Haute Couture. L’intrigo per oggetti che rimandano sia al linguaggio della manifattura industriale che al naturale, sono ciò che compone i suoi materiali, gli assemblaggi vengono poi rivestiti in resina modellata a mano. Usando questo processo modifica le funzioni letterali del singolo oggetto in un pezzo che parla all’immaginazione.

Studio Nucleo

CARBONIFEROUS table

Carboniferous is a table that cuts through space, definite and strong.Its many layers of black surface together create a shape, a crystallization of a quick movement, crushing, leading the eye towards the future.The honeycomb cardboard, covered with fiber glass and resin is finished off with layers of carbon fiber.The carbon fiber composes and traces the design, the movement into its unique strength.
In Carboniferous you get the feeling that the top surface does not necessarily represent the ideal landing platform.On another perspective the landing surface generates the powerful and matherical base.
Carboniferous is flowing and exploding, like an aggressive wind with a clear direction.As the earth below, coal is extracted into a new form, the result of sediment build-up of plants,
and also the secrecy and conspiracy of the Carbonari, from underground and from the depth of their hiding places,which emerges a few decades later into the tricolore (the three colours of the Italian flag).
Coal, a dense network of plant remains, and Italy, a mix of cultures and different latitudes.Italian amalgam of different origins, Italy particle edges, Italy multiform, Italy tangle of angles,Italy blunt, concave and convex, Italy Alpine wedge, Italy coal.Sediment of a combustion that melted and transfigured particles.

GREGOR GAIDA

Polygonal Horse II

Gregor Gaida’s sculptures have something almost unreal, in them surrealism is powerful, there is transfiguration, symbol and narration; creates incredibly exciting sculptures in which even the elements: wood, resin and concrete mix without losing their contrasting nature. Its themes can be seen as three-dimensional snapshots, with fictional protagonists fighting and being advanced, extracted and distant from their original framework of action. In his sculptures, Gaida literally shapes this approach and stories without finishing them; many of his subjects are also physically cut in half, incomplete and, therefore, to be completed.

Chris Klapper & Patrick Gallagher

Symphony in D Minor

‘Symphony in D Minor’ is an interactive sound and video installation on an epic scale. A thunderstorm contained within a series of large hand cast resin sculptures, each individual form is a unique instrument hanging from the ceiling. Suspended just within reach and activated by touch, the viewer sets the symphony in motion by pushing the forms through the air to trigger the various sound elements of the storm. Sensors relay individual recordings of thunder, lightning, wind and rain with alternating intensities to a full-scale sound system. Acting as both conductor and musician, the viewer creates an evolving composition out of atmospheric sounds, forging an environment that envelops the audience. Housed within each piece are 2 video projectors employing mapping software to evenly fill the surface of the forms. Like giant illuminated pendulums each sculpture radiates video projections that in their dormant state display abstractions of water droplets and slow moving clouds. As the sensors detect movement different ranges initiate more visual elements of the storm. Once activated, the form then shifts to a swirling torrent of clouds.

ZAHA HADID ARCHITECTS

زها حديد
扎哈·哈迪德
זאהה חדיד
ザハ·ハディド
Заха Хадид
Liquid Glacial Table
Entitled ‘Liquid Glacial,’ the series’ four pieces each resemble plates of moving ice, complete with legs akin to furrowing tunnels of water, draining down from the surface. Crafted from a new-fangled acrylic resin in Italy, each table is smooth to the touch in spite of its illusionary rippled appearance.