IRINA RAZUMOVSKAYA - www.irina-r.ru learning ancient languages lead to keenness on the context of everyday objects of an ancient past, the architecture and culture that they accompanied. In her work Razumovskaya animates minimalist constructivist architectural forms. She seeks to avoid direct, narrow, or exact images or symbols, basing her artwork on poly-cultural signs, such as architectural details, everyday and ritual objects. Irina comes to them through research on various cultures and always bears in mind their reflection on her own reality, her everyday life. Through her material research and experimental approach to ceramics Irina creates visions of ageing of the architecture, where every peeling layer of surface gives a context to a history and time. In order to do so she chooses purely material language of ceramics, as possible behaviours of clay are very diverse. For this reason, Razumovskaya avoids constructing narrative projections in her work, preferring to use laconic shapes and let the nature of the material itself create its own narrative and identity that the viewer unconsciously relates to. These architectural structures once bold and futuristic and built with uncompromising visual grammar, have through neglect and decay become lyrical. In her work classicism meets minimalism, giving rise to forms of meditation on the theme the dichotomy between the creative and destructive impulses that animate the entire human history.
“RESOURCES” - www.biennale-emergences.fr Our resources and our means of production are limited. We are now all concerned by environmental issues, in the least of our gestures, in the least of our choices. This is a widely accepted truth, which finds unprecedented repercussions in the face of the serious ecological catastrophes we are going through. What do we work with, how and for what purposes? These are the questions that the creators, producers and manufacturers who bring design and crafts to life are also asking themselves. What markers bear witness to new creative and productive orientations in this sector which is by nature connected at the same time to memory, to the present modernity and to experiments? Émergences d’Est Ensemble Biennale brings together designers, craftsmen and artists of the material to highlight the changes taking place in the management of resources. Because it is these resources, whether material, technical or intellectual, which give creative gestures and the resulting productions all their singularity. Raw and natural materials, poor or rare materials, bio-sourced materials, innovative materials, recycled… Starting from specifications nourished by new constraints and aspirations, many designers include as a working postulate this new exercise of intelligence and rationalization of resources. The arts and crafts sector, which operates over a long period of time and produces sustainable objects with high added value, is also wondering about the often rare and precious, sometimes polluting, resources on which it calls upon. as well as on the future of its know-how. In addition to the challenges of the scarcity of resources (wood, metals, textiles, stones, marble, etc.), there are added those of preservation and renewal of techniques to design objects of excellence with more reasoned characteristics that better meet today’s expectations. Working differently on the supply and processing and production circuits and ultimately better control of resources become objectives in favor of a model favorable to the “consumer”, to the workshop, to the sustainable economy of a sector and of a territory. Echoing this awareness that now irrigates the ecosystem of design and know-how, this 6th edition of Emergences brings together creations of multiple scales and horizons. Revealing “admirable resources” and revealing new savings, new uses and new aesthetics is what we want to share with you.
Orijeen’s rainbow-hued furniture uses lenticular surfaces to change colour Seoul-based studio Orijeen has designed a collection of colourful furniture, which appears to change shades depending on the viewing angle.Orijeen’s two-piece Colour Flow collection features a wardrobe and a small cabinet, both with rounded edges. While the wardrobe is patterned with colour-changing hues ranging from yellow to blue, the small cabinet alternates from pink-tones to blue. This effect is created by a lenticular surface, which consists of a translucent plastic sheet containing a set of small, convex lenses on one side, and a flat surface on the other. These convex lenses create the illusion of depth on a twodimensional surface, and make the furniture appear to change colour depending on the angle from which it is viewed.By creating the illusion of colour-changing surfaces, the studio hopes to remind people of their connection to objects. “As technology advances, the concept of interaction has become common and important in many fields. I thought it would be possible for this to be applied to furniture, and I wanted it to be made in a natural and simple way,” Jeen Seo of Orijeen told Dezeen. “By changing colour depending on the user’s position and movement, he or she is able to immediately realise the connection between them. This recognition might help people more actively and joyfully experience the objects, and communicate with them,” he added.
Chifeng countryside, Inner Mongolia, China Our aerial photo shows the autumn colors in a swamp on the edge of Chifeng.
Erosion of the Edge of the Mars’ South Polar Layered Deposits This image from NASA’s Mars Reconnaissance Orbiter shows small ripples, about 10 meters apart, located in Her Desher Vallis. Her Desher is a small channel that shows evidence of phyllosilicates -- silicates with a sheet-like structure, such as clay minerals. Much larger images of this area show that Her Desher Vallis appears isolated, with no obvious connections to craters or larger valleys. Her Desher, the ancient Egyptian name for Mars, translates to “the Red One.”
The River Veins Series by Tom Hegen As the glaciers in Iceland melt, ice blue water veins their way across black volcanic sand, creating most peculiar patterns in the landscape. Those scenes have an element of duality – it is hard to tell whether a picture was taken from a macro perspective or from a small airplane around 3000 feet in the air.