In their works, animals are deliberately imposed a burden. They are strange in shape and lovely in action, carrying a burden while still striding forward. In order to better render the color of the work, they used Chinese porcelain clay as clay material, and Lacu was used as a means of calcination. At the same time, the hand-kneaded work and Raku have visualized beauty and brought enjoyment to people.
Metamorphosing between visible and invisible, the Spirit of God is manifested in a variety of forms, as the blazing “fire” represents the true form of the visual description of Holy Spirit. It is not only a reflection of God’s absolute holiness and righteousness, but also a special token for God’s covenant with his children. It is symbolic of the glory of God’s judgment too holy to be beheld, while shedding light on the fact that only after going through the trial by fire could people aspire to be worthy of the crown of life.
This is a temporary Japanese tearoom exhibited in Echigo-tsumari Art Triennale 2018 and has a nested structure with two-tatami space embedded in ten foot square. In this exhibition, architects were asked to respond to the theme of how to overcome the concept of homogeneous space that was dominant in the 20th century. The skeleton was designed using the random pattern which was called Voronoi Division to distort homogeneous space. And it was proposed that the architecture with a large number of holes what could be opened and closed as needed to communicate with the outside like a living thing.
The sculpture Entangled Hands is part of the Slicing series started in 2014. The aim was to fuse digital and traditional techniques to produce innovative works of art. The sculpture forms a symbol of love. It is the Unification of two beings merging into one another. They seem to perform a sensual dance, its beat given through the steps of the sliced forms. The elongated fingers and the fused base form a long winding movement so the sculpture´s energy is kept within the inherent triangle of the silhouette.
Structural basis of Kepler-186f arm-chair is a griddle, soldered from a steel wire to which the elements carved from the oak are fastened with the help of brass sleeves. Various options of armature use combine in harmony with wooden carving and jewelers elements. This art-object represents an experiment in which different aesthetic principles are combined. It could be described as "Barbaric or New Baroque" in which the rough and the exquisite forms are combined. As a result of improvisation, the Kepler became multilayered, enveloped with the subtexts and new details.
The Leonardo 1482 is like nothing ever seen. It is an interactive light. The light is part machine and part light fixture. The light source is directed onto magnifiers to intensify the light. The light is then directed onto the mirrors. A simple pull on the chain causes eight wheels to move simultaneously to change the direction of the light from the wall onto the floor.
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