Liquid Skin
‘Liquid Skin’ is a visual research towards the changing boundaries between the physical world of the human body and the digital world. By borrowing techniques found in touch screen technologies, but instead of following the cold underlying logic of present day devices, it proposes a situation where this border becomes liquid and sensual with an emphasis on the fluidity of touch and movement. Turning the skin itself into a medium of visual expression without the constraint of the technical grid.

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

Floating Lens
The combination of movement and the reflections of the fresnel lenses, provide an interesting visual experience. When used on the rooftops of Paris, the Haussmanian roofs of the city seem to be seen through a dream. The wind on the lenses lightly distort the surroundings, creating a dream-like environment. Once again, the subtle mix of simple technology and poetic interpretation detach the conscious mind of reality. Leroy compares his project to an intriguing game of fluidity: “everything seems to breathe: no beginning, no end, just a stream.”

After Form
Transformation, fluidity, incompleteness, self-organization are inherent to this forms and images. My mission is to create and bring to our reality images and forms, that was impossible to create with traditional…

Living pod
file festival
Light, shape variations and mimicry meet in Living Pod. In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion, changing structure through miniature electric motors activated by light sensors that are sown through the garment. Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. In addition to the mechanical movements of the garments, Living Pods underlines two fundamental aspects of today’s fashion system: confrontation and imitation. The garment plays a mediating role between man and his environment. By using light, Living Pod is similar to project Walking City, which uses air to make the pieces look like they are breathing.

Méta-Matics
“Meta-matic drawings vary enormously, entirely according to how the machine is set up and used. No two drawings are ever completely identical. How close the felt-pen, or whatever is being used, is fixed to the paper, is an important factor, but the fluidity or otherwise of of the coloring agent, or the texture of the paper, will also play a part. The operator can use pencil, ballpoint, airmail stamps, invisible ink . . . The decisive thing is how long the machine is allowed to run without interference, and how long with each separate colour. But however it is set up, it is impossible for the machine to produce an ugly drawing”. Hultén

video

Corriette Schoenaerts is a photographer working in an art, fashion and commercial context. Corriette chooses not to work in one signature style. Instead she allows herself the freedom to focus on the subject, figuring formal congruencies will naturally follow. She creates strong guiding concepts for each project but is always open to chance accidents and spontaneity, thus providing an energy and fluidity that is integral to her photography.

Maria Roosen calls herself “an artist with green fingers”—fittingly, her sculptures and installations feature imagery that references both plant and human organs, often in conjunction. Though her practice incorporates wool, wood, and sometimes watercolor, Roosen is best known for her ability to manipulate hand-blown glass. She creates a playful irony in the contrast between the material’s hardness and the fluidity and voluptuousness of the shapes she creates with it.

文森特·勒罗伊
北极光环
stone age
Paris-based artist vincent leroy takes movement as the motivation for his work. he prefers this over form, material, or color. instead, he focuses on adding rhythm, pauses, and creating different patterns to set and differentiate every piece. ‘stone age’ is his latest sculpture and is made of fourteen triangular mirrors that move subtly, breaking its surroundings into thin reflections of space. these mirror images deconstruct the environment allowing for different visions of it.
This sculpture situates itself between poetry and technology, generating the opportunity to test visual and physical experiences that relate to space. ‘stone age’ looks like a heavy and rigid structure, but it will surprise the user when it twists and deforms with flexibility and fluidity, creating a delicate contrast. all the movement is created using very low technology.

NORMATIVE FLUIDITY

Graham BILLINGS: “Normative Fluidity” is a museum extension that explores the process of transposition between a series of light studies, diagrammatic implications of the “affect,” and their resultant three-dimensional forms and spaces. Diffraction of light through water is known as caustics; a process that was coupled with a camera obscura during my initial research.These light studies can be diagrammed with involute lines that generate governing geometries amplifying spatial expression and also compartmentalize space for programmatic elements. Through these spatial transpositions, the proposal mitigates the orthogonal forms found in the existing museum and its context, while respecting the initial light studies.

fluidity