Symbiosis
In the installation area, the human body is augmented with video projected virtual images. Viewer and technology enter a symbiotic relationship and as a result, bring to life wonderful biomorphic creatures. They change constantly – reacting to your every movement and turning into new and unique forms each time. The installation was inspired by the symmetry of living organisms, the structure of exotic insects, and reflections on extraterrestrial life forms.
Plato’s Atlantis
“En regardant en arrière sur la collection printemps 2010 d’Alexander McQueen, intitulée Plato’s Atlantis, il est facile de lire la série comme un ancêtre de la révolution du streaming de la mode, un héraut de la mode biomorphique et biophilique, et le précurseur de notre obsession pour les chaussures vraiment assez bizarres. Le recul nous dit également que ce défilé monolithique captivant était le dernier de McQueen”. Steff Yotka
SHOW STUDIO:Nick Knight
HOW TO GROW AND STILL STAY THE SAME SHAPE
If Comte’s sculptures are rooted in the naturalness of biomorphic forms, her mural interventions transform surfaces into optical sequences and infinite graphic signs with a digital age aesthetic. The monochromatic vocabulary that invests all her work brings her visually close to the abstraction of Sol LeWitt, Bridget Riley and even John Armleder, an artist with whom she studied. On the occasion of her exhibition at Castello di Rivoli, Comte has carried out a gigantic mural intervention consisting of eleven individual wall paintings specially designed for the galleries on the third floor of the historic residence. Also inspired by some eighteenth-century decorative motifs present on the ceilings and walls of the main museum building, the work develops repeated modules through space.
Kiesler’s longest-running project was Endless House, a single-family dwelling whose biomorphic form and lack of corners strongly contrasted with the hard geometric edges that defined most modern architecture of the time. He sought to design a structure responsive to the occupants’ functional and spiritual requirements. He developed his ideas for the house over several decades, creating numerous sketches and models. Although plans were made to build a to-scale model in MoMA’s Sculpture Garden in 1958, they did not materialize, and the project remains unrealized. Nonetheless, Kiesler’s Endless House concept was highly influential and stands as a strong expression of his bold statement: “Form does not follow function. Function follows vision. Vision follows reality.”
Walking Tall
Walking Tall was a skyscraper designed for New York in 1982-1983. The building, which was intended to rise to a height of more than 250 meters, employs asymmetric tetrahedral elements and is structurally reminiscent of utopian blueprints of the Soviet constructivist architectures of the 1920′s. Giorgini kept long-lasting friendships with the artists Jean Arp and Roberto Matta. The former artist may have left his biomorphic influences on Giorgini’s early topological architectures, while the latter artist’s dynamic three-dimension ‘inscape’ spaces may well be connected to Giorgini’s later angular works.
biomorphic house