ANTISHAPE explores our relationship with objects and asks: What happens to materiality and tactility in a world where images of objects become more important than objects themselves? Surrounded by a scene of physical and digital objects the work aims to evoke the uncanny feeling that occurs when objects from the digital realm enter our domestic spaces.
The work consists of several abstract interior objects that were generated through processes of analogue and digital manufacturing. Digitally generated patterns were combined with physical materiality like acrylic, glass fibre, textile and steel. The objects are accompanied by a website, a thesis called »Antishape – designing in times of the hyperreal« and a short film titled »wishing well« which acts as the narrative backdrop of the work.
ANTISHAPE reflects on the nature of objects we create for ourselves, the impact technology has on our current world and the role of human creation and reflection within it. As we flee into the realm of the digital, the virtual, the hyperreal, the stories we tell ourselves about our surroundings become increasingly important, as they remain the only thing that gives us the perception of a stable reality. We are no longer looking at each other, we are looking at images of each other. We are no longer looking at objects, we are looking at images of objects – or are we?
The film starts with a press conference at the fictional Institute for Semiotic Cryptoarcheology where two scientists were tasked to explore the objects which emerged from the AI-system without known cause. They speculate about the possible origins (a malfunction – a dream?) and wonder if the act of creation can differentiate humans from AIs...
Welcome to the archive of the Institute for Semiotic Cryptoarcheology!
Campaign image and animation for the group exhibtion The Circle.The most iconic shape redesigned at MAK Cologne in collaboration with Dutch Invertuals
The exhibition is on show from 17 January – 22 April 2022.
tele-nomadic sheltering unit
photo model Sanna Leone
Tele-nomadic sheltering unit is a hybrid object that carries within itself a mix of different nomadic realities and their resulting materialities. Visual reminiscences of a temporary shelter, a meeting at a bus stop, a shy gaze to a car's floor mat, a travelling sale stand that alters the familiar, habitual environment. The nomad has always been a figure connected both to a longing for freedom and the fear of the unknown and foreign as it reminds us of our vagrant past – a reminder that is bitterly needed in times of overconsumption, overproduction and the destruction of the thin habitable fabric that covers our home planet.
Tele-nomadic sheltering unit is an attempt at creating an object for a new era: An era where we need to find new collective mindsets, where the new will be exchanged with the long-lasting, the inflexible with the flexible, the static with the moveable, the broken with the repaired, the individual with the collective.
The work can be disassembled and consists among other materials of five different jacquard woven fabrics which were developed in collaboration with EE Exclusives. Each textile has a different coloration on both sides and the textures of it were created by using filling yarn and laser cut techniques.
What meaning has materiality in a world where borders between digital and physical reality are becoming blurred? And how does it feel when material realities leave the digital space and transition into our physical realm?
These were some of the questions which where the starting point for my research into digital crafts during my scholarship as part of Task Force Textiles.
Referring to the title of my work the digital has been around for a while I began with the first of all materials – clay. I started to form it with 3D programmes and tools as if I'd do it with physical material and my own hands. The results are shapes, textures and surfaces that are balancing between digital aesthetics and physical imagination.
To further explore the moment of tactility and textiles in the digital realm I explored simulations of brushes, hairs and fringes. Fascinated by the way those familiar, soft and yet artificial materials generate an uncanny feeling on the screen, I created animations and translated parts of it into a physical object.
The result was exhibited in December 2021 at ABK Stuttgart and supported by Innovationsfonds Kunst Baden-Württemberg, Peter Hahn GmbH and Landesbank Baden-Württemberg LBBW.
dot matrix 3.14ff
Dots and circle – zeros and ones – are in the origins of all digitally generated patterns and programs.
Blue dots are moving through the surface, they disappear and re-appear again. Through this they create a feedback loop between the physical and virtual worlds. To close the circle between those two realms a digital pattern was created, then manually screen printed onto a surface, which was then deformed.
Tactility, materiality and feel are standing in contrast to the seemingly liquid surface that translates the feeling of digital fluidity into a tangible form.
Currently on display from 17 January – 24 April 2022 at MAK Cologne as part of the Dutch Invertuals group exhibition The Circle. The most iconic shape redesigned.
illusion of home
I travelled through times zones and
against the rotation of earth.
My carpet was my moment of comfort and truth,
welcoming me with its soft body.
It became an illusion of home, something that covers,
something that allows me to rest.
In-between layers of yarn and colors
we transcend into the unconsciousness.
The objects in the scenery of Illusion of Home are pointing towards ideas of home and nomadism and have haptic qualities at their core: they are all in part textile. Its centrepiece is a curtain, dividing the room between public and private – concealing and revealing at the same time, the gaze is pulled towards it.
The curtain is variable in nature and consists of multiple patterns and layers of varying density and opacity, which can be adapted and modified with magnetic fixtures. The division of the curtain into two halves allows entering at the threshold between inside and outside. The patterns have been algorithmically generated and digitally printed.
Trio – the series of interactive lamps which inhabits the space of Illusion of Home are figurative worm-like creatures, with a soft textile-like surface. In their rest position they are off, once you topple them over they slowly start to glow, until they are put back to sleep again. Each of the three lamps has a different geometric body and demands a different way of interaction.
The carpet has three different pile heights which modulate its geometric shapes and give them depth. It is entirely hand tufted out of New Zealand wool and has been realised in cooperation with Elisabeth Kaetzl and Carpt.
Trio has been on display at Villa Noailles as part of the 15th Design Parade Hyères 2021.
The carpet has been nominated for the shortlist of the Young Talent Award ein&zwanzig 2019 as part of the German Design Council.
The digitally printed curtain floating is made up of textile fragments that are moving through the threedimensional space. The fragments themselves consist of handmade collages digitally mapped to a distorted coordinate system. In the work the digital craft transforms the physical origins into layered sediments floating over the screen – the pattern on the textile is one moment of its movement, frozen in time. The rocks formed by the digital sediments become hard again once they are printed onto the soft flexible surface of the textile.
Towards an enigmatic topology of things
It is night.
A dim light casts a complex shadow on fragmented shapes and objects scattered throughout the scene. You find yourself sitting on the floor, contemplating on the nature and meaning of this arrangement. You cannot exactly place them, neither in a functional nor in a symbolic sense.
They resemble some of the things you know, but something is off: Every time the image seems to clear up, it starts to move back just as far. So you stretch your legs and stand up. Behind you there is a bigger object with some of the fragments hanging off the side. On a second look it somewhat resembles a chair, but it could as well be something completely different.
You take one of the fragments, it feels cold to the touch and has some sort of a brush at its edge. You wonder whether it serves a function beyond the situation it placed you in and the thoughts it spawns inside your head. You think about how the original meaning of the term aesthetics was that of shared emotion, and how aesthetic could be a way of speaking.
How we make our environments speak, by surrounding ourselves with objects that provoke an aesthetic response.
Details in that sense are not mere decoration.
They do not distract or entertain.
They lead to an understanding of the whole of which they are an inherent part.
Enigma consists of a system of lines (steel rods) connecting the surfaces, which are spaced out and decentralised – seemingly distanced to each other. The single shapes act as enigmatic artefacts and are movable between the two main objects.
These fragments stem from certain functionalities with various degrees of vagueness. Depending on how the fragments are combined new meanings and shapes arise.
Colō is latin and translates to cultivate the land, inhabit, protect and worship. Colō consists of two textile wall hangings, made from jacquard woven linen, mohair and wool. The double weave technique used allows to utilize Colō as room dividers positioning them freely in space. With two different color combinations on each side (one darker and one lighter) the fabrics create a different mood depending on which side you face them.
objecto modo was born in June 2020 as an ongoing research project and experimental play field into forms, materials and perception.
objecto modo refers to the state of an object / the object being in a current mode of existence. The objects are animated 3D-interpretations of the descriptions and names generated by an AI and explores the relationship between a human designer and algorithmic generation.
Seated is a series of four stools. Each stool is unique and every of the four perspectives on a single stool is unique – this allows for 1820 possible combinations, depending on the rotation and ordering of the stools.
A water-jet cut steel sheet folded in shape - this process generates a chair with minimal industrial production process involved. The pattern is digitally generated and directly printed on the steel before folding. The chair has been named after the distant detached object Sedna 90377 which is a large planetoid in the outer reaches of the Solar System.
Sedna/20 has been nominated for the shortlist of the Young Talent Award ein&zwanzig 2021 as part of the German Design Council.
Anna Resei is a conceptual designer and digital archaeologist.
Creating functional as well as abstract interior objects, she is interested to blur and unravel existing borders between disciplines. The outcomes are often objects that come to life in the physical as well as in the digital realm. The tensions and contradictions which appear in the translation between these two worlds, is what makes it appealing to her. Rather than staying in one or the other sphere, she highlights the new material realities and narrations which emerge from this practise.
Anna studied textile- and experimental design at ABK Stuttgart and HFBK Hamburg and spent an exchange semester at the Iceland Academy of the Arts in Reykjavík. This background deepened her interest in abstract research and material exploration, which brought her to Design Academy Eindhoven where she graduated – cum laude – with a masters in Contextual Design.
Anna is one of the finalists of the 15th Design Parade Hyères. Her works have been nominated several times for the young talent award ein&zwanzig as part of the German Design Council and Design Plus.
She received a scholarship for Digital Crafts from the TaskForceTextiles at ABK Stuttgart in 2021.
Originally from Austria she is based in Germany and the Netherlands.