Born in Pistoia, Italy, Jonathan Calugi is an illustrator based in Italy and it is from his self-proclaimed chaotic workspace, that he creates his clean illustration and pattern works. Each piece is a take on his quirky child-like doodles with clean minimal lines and simple, uncomplicated colours.
And it is through these simple visual works, that Jonathan draws in viewers to a basic stand and cultivates appreciation the very epitome of the common phrase of “Less is more”. A very good nudge away from what can be a messy and rather perplexing world at times.
Some of the latest project include artist limited series for delonghi uniqlo and fubon art gallery. Client include nike europe, sony uk, gold, noodlepark, we form, 9volt, faro giocattoli, apple, tres tinatas, nikita, imgs, electunes, feltrinelli etc…
Nominated as the New Visual Artist 2010 by Print Magazine PRINT has featured an annual issue called the New Visual Artists Review, which introduces and profiles 20 of the promising rising talents in graphics and design all under the age of 30. Yes me one of those YEP.
Japanese artist Iori Tomita takes a colorful approach to highlighting the complex compositions of marine life creatures with his collection entitled “New World Transparent Specimens.”
Tomita was first introduced to the creation of transparent specimens for the scientific purpose of examining minuscule bone structure as an undergraduate student majoring in fisheries. The specimens’ flesh is made translucent by a method that dissolves the creatures’ natural proteins. The artistry of nature and man-made design converge when vibrant dyes are introduced to the delicate skeletal system. Selectively injecting red dye into the hard bones and blue into the softer bones, Tomita underscores the other worldliness of aquatic life.
Recently exhibited at Design Festa in Tokyo and celebrated at the Tokyo Institute of Technology’s Makezine event, Tomita’s work will soon be on display again at the “Tokyo Mineral Show” from 10-13 December 2011 at Sunshine City.
“New World Transparent Specimens” are available for purchase through the the Japanese-based store Tokyu Hands for ¥2,000 to ¥20,000 www.tokyu-hands.co.jp/
“The conventional “self” or “person” is composed mainly of a history consisting of selected memories, and beginning from the moment of parturition. According to the convention, I am not simply what I am doing now. I am also what I have done, and my conventionally edited version of my past is made to seem almost more the real “me” than what I am at this moment. For what I ‘am’ seems too fleeting and intangible, but what I ‘was’ is fixed and final. It is the firm basis for predictions of what I will be in the future, and so it comes about that I am more closely identified with what no longer exists than what actually is!”—Alan Watts
ETTORE SOTTSASS: I WANT TO CREATE SURPRISES THAT MAKE PEOPLE THINK…
Diego Grandi met Ettore Sottsass in 1999 while he was still a university student. His interview, largely unavailable until now, explores the relationship between literature and design:
I met Ettore Sottsass in Milan one morning early in the summer of 1999. I was writing my thesis on the relationship between design and literature, and I wanted to know about his time in America, his contacts with the Beat Generation, the feelings he was inspired and driven by. What had remained of that close encounter of the literary kind?
On Wednesday 11 June I was sitting in armchair in the waiting room at Sottsass Associati in Milan. I had already given in to Liana, Ettore’s assistant. In my mind I tried to reorder the questions I had decided to ask him. I didn’t know where to begin: should I ask him to recall his stay in America? Or when he met Ginsberg, Kerouac, and Burroughs? I just couldn’t make my mind up. I was nervous and scared, like a student before an exam. I needed to take my mind off things. I looked around the office: the spaces, the colours. Going over the historical stages in Sottsass’s career, I recognised the shapes of the objects in the waiting room. That bookcase, that vase, this particular poster … Liana came back. We said hello and she asked me to follow her. We went to his office. She introduced me, and then left us.
'Natural dye in Rwanda' by atelier rwanda is a research based project which explores the full cycle of natural dyeing in the context of contemporary textile production in rwanda. the project, led by the designers eugenia morpurgo and maya ben david, was based on collaboration with local basketry craftswoman, a class of tailors and a group of students from the kist university of kigali as part of a workshop which recently took place in kigali.
Currently, wanda’s local textile market is based on imported fabrics. what is known as ‘african fabrics’ are designed mostly outside of africa. the aim of this project was to explore design possibilities in the field of textile while using local fabric, available techniques and the skills to support the identity of rwanda’s local culture.
In Rwanda, there is no tradition of natural textile dying although the method does exist in the region’s basketry crafts. The research surrounding this project was based on trial and error, where the team manipulated the processes and techniques used in basketry to comply with textiles.
The research was followed by implementation, where the ‘tailors’ designed a series of shoes and scarves. starting with the local production of sandals, the aim was to combine the skills of the shoe maker with the one of the tailors to create new possibilities in local shoe production. the scarves combine natural dyed fabric with vegetable fibers and basketry techniques, to create a local textile with a highly tactile expression, which can be easily produced with available materials and methods.
Further, the objectives of the research program were: to promote efficiency and sustainability of activities related to natural fibers developing innovation of products made in local materials; to improve the productive capacity of local handicraft; to strengthen the role of craftswomen; to enhance the development and market of local resources and products; to improve the use of water supply; to strengthen, within the architectural planning and design, cultural exchanges between europe and africa in order to enhance resources and working abilities in africa.
Native of Meixian, Guangdong, Tzu-chi Yeh was born 1957 in Yuli, Hualien county, Taiwan. He held his undergraduate study at the National Taiwan Academy of Arts in 1977 and graduated from the Fine Arts Department, Chinese Culture University in 1981. He acquired his master’s degree in the Institute of Fine Arts, City University of New York, Brooklyn, USA in 1989. After living in New York for nineteen years, he returned to settle in Hualien in 2006. Works have been participated in varies solo and group exhibitions at home and abroad, including the 1980 Asian Youth Art Exhibition held in Hong Kong, the Taipei American Cultural Center and the Westbeth Gallery in NY in 1987 and 1989 respectively. He was invited by the NY Choice Art Gallery to attend the joint exhibition named “The Day of Death” in 1989 and 1990. His recent solo exhibitions include the 2004 “Monologue – the Near and Far Away from Home” Eslite Gallery; 2007 “Through the Landscape of the Mind” Eslite Gallery; 2009 “Landscape Taiwan” Eslite Gallery. Yeh’s still life subjects from the “Soliloquy” series to the “Landscape Taiwan” series are the records of his inner feelings, realistic with symbolic metaphors, paintings are filled with personal touch, strong and unique in style.
Inspired by intuitive visual reverberations from Peterson’s early memory; a snapshot of a hallucination in three dimensions. These new sculptures represent seven years exploration into relief pattern, layered materials, surface treatment, organization of space, and animated movement. The multidimensional forms include free standing sentinels, individually painted slat panels, regionally painted surfaces, tubes, and most recently failed attempts at ceramic platens finished with crystalline glaze.
Ara Peterson was born in 1973 in Boston, MA. He graduated with a degree in Film/Video/Animation from the Rhode Island School of Design in 1997. Recent exhibitions include New York Minute, MACRO Future, Rome (2009), eARTS Beyond, Shanghai International Gallery Exhibition of Media Art (2009), Materialized: New American Video and…, Bergen Kunsthalle, Norway (2008), Constraction, Deitch Projects, New York (2008), and Positions, Art Basel Miami Beach with John Connelly Presents (2007). His work has been included in exhibitions at P.S. 1 Contemporary Art Center/The Museum of Modern Art, Long Island City (2006 and 2004), Yerba Buena Center for the Arts, San Francisco (2006), The Deste Foundation Centre for Contemporary Art, Athens, Greece (2006), Liverpool Biennial, UK (2004), The Mattress Factory, Pittsburgh, PA (2003) and the Biennale d’arte contemporian De Lyon, France (2003). Peterson’s work is part of numerous public collections including the Museum of Modern Art, New York, New Museum of Contemporary Art, New York, The Deste Foundation Centre for Contemporary Art, Athens, Greece, and the Berkeley Museum of Art and Pacific Film Archive, CA. Peterson currently lives and works in Providence, RI. This is his third solo exhibition at Ratio 3.
"These are my FEEAS, porcelain characters, made to dislike.
They have been created from broken pieces of porcelain, bought in antique markets and recomposed, not in the most correct way, but in the funniest and most macabre way that occurred to me.
I try to preserve the antique patina that they had when they came into my hands as much as possible, that is to say that I don’t clean them and if possible, neither do I break them any more than they already were, in an attempt to preserve the traces of their history.
Nor do I try to beautify the unions, I like them as they are, ugly, damaged, malign, a little Frankenstein, but tender deep down.
Although I consider them to be artistic pieces, I usually use them as broaches or rings.
I hope you like them, or not, that is what they are made for.”
“Remembering that I’ll be dead soon is the most important tool I’ve ever encountered to help me make the big choices in life. Because almost everything — all external expectations, all pride, all fear of embarrassment or failure - these things just fall away in the face of death, leaving only what is truly important. Remembering that you are going to die is the best way I know to avoid the trap of thinking you have something to lose. You are already naked. There is no reason not to follow your heart.”—Mr Steve Jobs