FACETURE Film, 2012.
The FACETURE film shows the whole process of making a FACETURE small vase; from the making of the mould to the casting of the piece.
The FACETURE project was created with the support of Creative New Zealand.
A Georgia Tech Class Blog
Artist Barry Underwood photographs wonderfully mysterious light installations that he installs on-site in forests, mountainsides, or near lakes and rivers. Via his artist statement:
By reading the landscape and altering the vista through lights and photographic effects, I transform everyday scenes into unique images. Light and color alter the perception of space, while defamiliarizing common objects. Space collapses, while the lights that I install appear as intrusions and interventions. This combination renders the forms in the landscape abstract. Inspired by cinema, land art, and contemporary painting, the resulting photographs are both surreal and familiar. They suggest a larger narrative, and yet that narrative remains elusive and mystifying.
In his installation, reverse of volume RG, Yasuaki Onishi uses the simplest materials — plastic sheeting and black hot glue — to create a monumental, mountainous form that appears to float in space. The process that he calls casting the invisible involves draping the plastic sheeting over stacked cardboard boxes, which are then removed to leave only their impressions. This process of reversing sculpture is Onishi’s meditation on the nature of the negative space, or void, left behind.
Onishi wanted to create an installation that would change as visitors approached and viewed it from outside of the glass wall to inside the gallery space. Seen through the glass, the undulating, exterior surface and dense layers of vertical black strands are primarily visible. At first glance, standing in the center of the gallerys foyer, it appears to be a suspended, glowing mass whose exact depth is difficult to perceive. Upon entering the gallery and walking along the left or the right side, the installation transforms into an airy opening that can be entered. Almost like stepping into an inner sanctum or cave-like chamber, the semi-translucent plastic sheeting and wispy strands of hot glue envelop the viewer in a fragile, tent-like enclosure speckled with inky black marks. Visitors can walk in and out of the contemplative space, observing how the simplest qualities of light, shape, and line change.
This project was initially developed for the ‘W-hotels designer of the Future award’ exhibition at Design Miami/Basel 2011.
‘Collective works’ is a production process which is just fully functioning when people pay attention to the producing machine. Reacting to its audience, the process translates the flow of people into an object. The resulting outcome varies in colour and size just like the level of interest is varying during the time of production.
As soon as one person is coming close and looks at the machine, the production process is started: A wooden 24mm wide veneer-strip is pulled through a glue basin and slowly coiled up around a 20mm thick wooden base. Since the turning platform with the base moves downwards the veneer strip slowly builds up a basket. Once a second person joins to look at the process, a light tone colour is added via a marker onto the veneer. The more people come to look at the machine, the more markers are activated, each with a gradient darker tone. This goes up to four markers, at the same time, staining the veneer-strip black.
The interaction is possible due to sensors in the frame of the machine which detect the audience.Depending on the overall interaction time the baskets’ height is defined. The more often somebody stops by to watch the process the higher the outcome gets.
The machine directly reacts to each observer and thus the outcome is as well directly depending on the audience. Every spectator leaves a mark on the object and therefore each basket becomes an unique record of the people’s interest in the object’s production. A basket – a vessel used to collect something becomes a collection of data by itself. If nobody is interested in the project, it stops producing at all and the final object just does not get made. This can be seen as ‘production on interest’.
‘Collective works’ also questions the relation between man and machine. The audience is turned into workers even tough their effort is basically just their time they spend with the machine – but time is what most of us lack. Somehow. Normally many machines in factories just need some technician to monitor the production and suddenly one machine needs some audience to produce colourful, vivid outcomes.
A series of different bench designs is connected to an imaginary line of benches running along the building, on the terrace at the rooftop, the facade and inside the galleries.In some places the bench sinks into the ground, gently ascending elsewhere, sometimes providing an opportunity to take a seat and relax, sometimes only offering a sculptural impression.
Materials: Powder-coated aluminium and LED
Permanent exhibition at Auckland Art Gallery Toi O Tamaki, NZ, 2011
These are some really good quotes I came across, which can inspire us being innovative at the workplace. Hope you guys enjoy it
The organizations of the future will increasingly depend on the creativity of their members to survive. Great Groups offer a new model in which the leader is an equal among Titans. In a truly creative collaboration, work is pleasure, and the only rules and procedures are those that advance the common cause.
The brain is a wonderful organ; it starts the moment you get up in the morning and does not stop until you get to the office.
— Robert Frost
I sell ideas and visions. That kind of selling requires a different set of muscles from those that you need to sell products. The challenge is to help people see things that they may not be able to see for themselves. Now, I’m not a visionary from the blinding-flash-of-light school. Instead, I base my ideas on intuition, on facts, and on specific opportunities. The greatest resistance that I encounter from people whom I’m trying to sell to is grounded in discomfort — which really comes from a lack of understanding. So a great salesperson, in effect, knows how to sell understanding.
—Phil Guarascio, GM’s vice-president for advertising and corporate marketing
If NATURE has made any one thing less susceptible than all others of exclusive property, it is the action of the thinking power called an idea… No one possesses the less, because every other possess the whole of it. He who receives an idea from me, receives instruction himself without lessening mine; as he who lights his taper at mine, receives light without darkening me.