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. All patterns were digitally generated and combined with physical materiality like recycled acrylic, resin, fibre glass, textile and steel.
How can we enhance plants’ agency and ability to travel by becoming more receptive for the signals and data our environment produces?
In a future scenario where rising sea levels and extreme drought have endangered the survival of several species, the Inter-Organism Transceiver aims to bring the non-visible communications around us into our perception.
Based on the fictional figure of the Tele-nomad, who lives a reductionist life centred on exchange, repairability and connectivity, this speculative work puts a focus on living, learning and communicating with non-human organisms. An emphasis lies on water based plants as they will become increasingly important for human survival due to their surprising abilities in relation to climate change.
Tele-nomads are seeing themselves as part of an inter-organism process of migration and adaption. Instead of traditional agriculture, where humans decide over the plants placement and use, the Inter-Organism Transceiver decodes the plants desire, and ask the Tele-nomad to help them.
Exhibited during Dutch Design Week 2022 as part of the group exhibiton Expedition Aequalis in collaboration with Dutch Invertuals X Future Laboratory London and Reon Brand (Philips Design).
exhibition view during Dutch Design Week 2022 at Dutch Invertuals
With works by Moonseop Seo x Katharina Sook Wilting, Johanna Seelemannm, Edhv, Architects of Identity, Dae Uk Kim, Delphine Lejeune, Audrey Large x Theóphile Blandet, Studio ThusThat.
Photo credit Ronald Smits.
Visuals for the group exhibition De Snoepwinkel a candy shop of design critiques: visitors are invited to smell, lick, suck, shew, munch and enjoy the surges of dopamine as the critiques swim through their digestive tracts and seep into their subconsciousness. During Dutch Design Week 2022 the bitter-sweet exhibit featured new works by nine designers from different disciplines, which explored the question of what shapes and forms designly critique can take within our contemporary culture.
Displayed during Dutch Design Week from 22 - 30 October 2022.
With works by Adèle Vivet, Anna Resei, Carlos Sfeir, Chongjin Chen, Clara Schweers, Ida Blichfeld, Meghan Clarke, Tadeas Podracky & Thomas Woltmann.
Curated by Pete Ho Ching Fung & hosted together with Ida Blichfeld.
"We need to find new collective mentalities where the ‘new’ will be exchanged with the long-lasting, the inflexible with the flexible, the static with the moveable, the broken with repaired."
This speculative work promotes a more elastic approach to living and examines the changing ways future generations will live, work and travel in the future city. Centred on fluidity and flexibility, the Tele-nomadic Sheltering Unit proposes an urban dwelling that is durable, moveable and designed to oppose the overconsumption associated with urban living. This reductionist and alternative way of living is designed with repairability and flexibility as core values, but also to be imbued with connectivity and symbolism, representing the figure of the future nomad carrying within itself a mix of different nomadic realities and their resulting materialities.
The whole idea of the Tele-nomadic Sheltering Unit is based on a modular structure which can be assembled and disassembled and carried with oneself. Repair and exchange are at the core of the concept. Imagining a future where we live in the open and collective and only own as much things as we can actually carry. The textiles allow different set ups and are shelter and protect from the natural environment. They are also meant to harvest electricity and through this enable to be fully self-sufficient. The small dot-matrix screen attached facilitates communication to other Tele-nomads near by due to cloud connection.
The work consists of a steel structure, two recycled acrylic glass plates, a patterned seating object, resin bricks and a small dot matrix-screen. Amongst these materials are 5 different jacquard fabrics which were developed in collaboration with EE Exclusives in the Netherlands. The textiles have different colorations on each side and are constructed as blanket qualities. The 3D-textures of the textiles were created by using filling yarn and the graphic outlines of the textiles were created by using laser cut techniques.
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. As a wirless charging system is implemented, there is no need to use a cable. Each lamp 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.
Tele-nomadic kit as part of THE CHALLENGE in FRAME magazine #144 – full article available here.
the digital has been around for a while
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 in May 2022 at project space AKKU as part of Kuenstlerbund BWB.
Supported by Innovationsfonds Kunst Baden-Württemberg, Peter Hahn GmbH and Landesbank Baden-Württemberg LBBW.
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.
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.
Institute for Semiotic Cryptoarcheology
The short film wishing well 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!
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.
Anna Resei is a conceptual designer, creating functional as well as abstract interior objects.
In her work she explores virtual as well as physical material aesthetics that then lead to ideas that are a combination of both worlds. By using digital tools in new and unintended ways and translating their output into physical materials and shapes, she creates objects that explore our relationship with the material world.
Anna graduated from Design Academy Eindhoven – cum laude – with a master in Contextual Design (2021) and 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. She received a scholarship for Digital Crafts from Task Force Textiles at ABK Stuttgart in 2021 and is currently a designer in residence at MK&G Hamburg.