Extract from David Foster Wallace’s Essay: «This is Water»:
«There are these two young fish swimming along, and they happen to meet an older fish swimming the other way, who nods at them and says, “Morning, boys, how’s the water?” And the two young fish swim on for a bit, and then eventually one of them looks over at the other and goes, “What the hell is water?”»
His essay, to me, illustrates the importance of learning how to appreciate what we have, see beauty everywhere and the need for awareness.
«... awareness of what is so real and essential, so hidden in plain sight all around us, all the time, that we have to keep reminding ourselves over and over:
This is water.
This is water.»
Luxe, Calme et Volupté
«Invitation to the Voyage» is a poem from Charles Baudelaire’s 1857 The Flowers of Evil.
The poem takes the viewer to an imaginary land of beauty, luxury, calm and sensuousness,.
‘Ideal’- wins over ‘spleen’.
Architecture - transports me to that land, where dream is intertwined with reality.
Baudelaire creates analogies between a sensual woman and the landscape, this project links architecture to the woman’s body.
Antwerp, Belgium, New Years 2014- ongoing project.
My Babushka was recently diagnosed with Alzheimer's disease. I first visited her in her apartment in Antwerp and then in a nursing home nearby where she currently lives.
Despite her disease and everything she has been through in her life, she remains stronger than ever. A true source of inspiration.
Learning to use 3D modelling software in my practice broadened my spatial understanding of depth and form, inspiring the basis for this 2.5D project. In 3DsMax, the lathe tool creates a 3D object by rotating a line (in this case I chose the outline of the buildings) around its central axis (360 degrees). This technique allowed for the deconstruction and reconstruction of spaces to form endless combinations.
The resulting geometry of the object and of the building were thus intimately related, yet bore no obvious resemblance.
This process resulted in diptychs: an architectural photograph and the traced digital object made through the three-dimensional software.
The process looped: from a three-dimensional building, flattened into a two-dimensional photograph and finally back into a three-dimensional sculpture.
In my presentation of this project, I added a third component to help the viewer make the connection between the photograph and the sculpture: the image of the 3D model screenshotted from the software. I chose to show just its skeleton (the wireframe), as it only exists within that elusive space between 2D and 3D (thus “2.5 D”) and in doing so bridges the gap.
The final form of the project was then presented as triptychs: the architectural photographs, the images of the object’s skeleton, and the 3D-printed sculptures. The images were monochromatic and framed, while the sculptures were printed in white and placed onto floating shelves, creating a sense of unity across the mediums.
Ultimately, the concept was to conceive of the photograph not as final product but as inspiration. In this case, for the generation of sculptural objects.
[UNCLASSIFIED] records the uncensored Facebook conversations between the artist and her partner, a Western diplomat living in Moscow. The text of their messages is printed in invisible ink that can only be seen by the naked eye when exposed to ultraviolet light.
Viewers can scan the conversations with an ultraviolet torch with complete freedom, an allusion to the ever-present possibility of government surveillance.
Diplomats around the world are often surveilled but, as Snowden revealed, so are many private citizens. The work juxtaposes sophisticated digital technology with the almost comically analogue method used during the Cold War of delivering secret messages.
[UNCLASSIFIED] invites viewers to enter the artist’s home with an UV flashlight in the dark where they can discover the conversations, and question whether (as in Foucault’s Panopticon) the possibility of surveillance changes the way people correspond, act and live. It also points to the fragility of the private space.
This project invites people to reflect on language and the modes in which our generation communicates.
The installation consists of 15 white pages, spread across a white wall, capturing two weeks of Facebook conversations between the artist and her partner. These seemingly invisible, yet physical pages, transcribe visible, yet immaterial conversations.
Porterhouse by Laris restaurant in Hong Kong
Moët & Hennessy, Hilti and Megafon offices in Moscow
EVO Boutique Fitness in Berlin
Apartments for Barnes Luxury Real Estate in New York
Osanna Madina Visconti atelier in Milan
Redball project in Minnesota for artist Kurt Perschke