The work reflects and reinterprets a selection of paintings and objects depicting lying, standing or sitting women found during multiple visits to the museum's archive. These poses were digitally manifested, elongated and distorted through the use of prefabricated motion libraries of computer generated stock bodies resembling the female figures as seen within the depot.
The work reflects and reinterprets a selection of paintings and objects depicting lying, standing or sitting women found during multiple visits to the museum's archive. These poses were digitally manifested through the use of prefabricated motion libraries of computer generated stock bodies resembling the female figures as seen within the depot.
Illusion Mirrors, 2023
On View during Ashes & Sand at Schloss Hollenegg for Design (AT)Realized with the support of Culture Fund Eindhoven.
Glass, Silvering
57 x 37 x 1,2 cm, 57 x 35 x 1,2 cm, 13,5 x 24 x 1,2 cm
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The illusion mirrors appear to be metallic objects but are, in fact, glass forms obtained through kiln carving.
Heat-resistant felt is cut into a shallow mold, in which a flat glass sheet is slowly melted and transformed into haptic bas-reliefs. Successively the glass is coated in silver to become a mirror.1 Because the mirror's surface is not flat, it distorts the image rather than reflecting it faithfully.
The hand mirrors are designed for use in the Saal of Schloss Hollenegg. Philipp Carl Laubmann painted the Saal in 1750 with architectural motifs, which transformed the two-dimensionality of the walls into an exterior space. By holding an illusion mirror, visitors can further immerse themselves in the spaces they are walking through. Together, the mirrors and rooms of Schloss Hollenegg create an analog effect of collision, distortion, and reflection.
1 The earliest manufactured mirrors were pieces of polished obsidian, a naturally occurring volcanic glass. During the early Europe Renaissance, mirrors were made by coating the back of the glass with a tin-mercury amalgam, and the mercury was then evaporated by heating the piece. Mercury vapours are highly toxic and in 1835 the German chemist Justus von Liebig in 1835 invented the silvered-glass mirror. Today, a layer of silver or aluminium is fixed to the glass plates by electrolysis to obtain clear, clean mirrors without shadows or stains.
Beams of amethyst daydreams, 2023
On View during OBJECTS FOR A NEW KIND OF SOCIETY: THE WAY WE WORK, Milan (IT)Glass, PLA
Design Direction: Wendy Plomp
Photography exhibition: Ronald Smits
Photography Her Queen Maxima: studio about today
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Supported by Creative Industries Fund NL and Cultuur Eindhoven
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‘In todays’ society, there’s a continuous need to be pleasured and affected through digital means.’
Our desire for constant digital stimulation is transforming not only our behavioral patterns but also the spatial landscapes we inhabit. Beams of Amethyst Daydreams visualizes the intersections between the digital and physical world by combining nature-based morphology with 3D printing. Her piece brings the fluidity of computer-generated shapes into a liquid light installation, giving a glimpse into the workscape of the future.
Every morning is an opening into the unknown:
Clara lets go of all restrictions and completely flips the script. The moment determines the story. She goes wild with digital techniques and creates fictional characters that together form unique patterns. Computer-generated characters are increasingly common in film, games, and other media. How do they change our behavior? Clara answers this question by creating fictional worlds of flowing crystals, glossy textures, and human figures.