The exhibition 'Morph' reflect on the theme of Morphing. Combining objects, material expression, and time based media, the exhibition will emphasize the trans-media dimension of design but also, the seamless transition of its various formats into one reality.
Morph (plural morphs)
From Ancient Greek μορφή (morpho/morphè): shape, form, structure.
1. (linguistics) A physical form representing some morpheme in language.
2. (biology) Local variety of a species, distinguishable from other populations of the species by morphology or behaviour.
3. (computing) A computer-generated gradual change from one image to another.
If design is a language, then it should play with 'morpheme’, the smallest component of a word with a semantic meaning, in order to create meaningful 'morphos’, forms.Then, the process of creation could be called a 'morphing': a continuous transformation of matter, whether digital or physical.
Within the 'Morph' exhibition, each designer represents a 'morpheme’, a creative unit that shapes a meaningful whole. In this sense, 'Morph' gathers different individual design practices not presented as unique motionless forms of expression but as part of a broader continuous fluid of creation.
The exhibition takes place in a former building of Philips in Strijp-s. Currently being renovated by Microlab, it gathers start-ups, studios and workshops. 'Morph' intervenes in the old chimical laboratory of the hidden part of the groundfloor. The rooms, still in their original state, create a sensible atmosphere of seamless transformation.
- MORPH OPENING TECHNO PARTY, 19th, 22:00-02:00, BLACK BOX, Microlab.
- OPENING, 22th, at 18:00, Exhibition Space, YELLOW LAB, MicroLab.
- LIVE CONCERT with COLOMBEY, 25th, 20:00-22:00, Exhibition Space, YELLOW LAB, MicroLab.
- MORPH CLOSING PARTY, 26th, 22:00-02:00, BLACK BOX, Microlab.
Anaïs Borie is a French designer recently graduated from the masters department Contextual Design at Design Academy Eindhoven with a project investigating the irrational aspect of electricity.
Her current interests emphasis the narrative apsect of design to explore rational as well as irrational form of knowledge. In combining myth and technology into the design field, she injects in objects a room for danger, adventure and transgression.
The odyssey of Prometheus
The odyssey of Prometheus, is a 3 objects triptych which are translating Prometheus myths’s into modern times. The fire is transposed into electricity, the materials are transformed from marble to plastic and the techniques become entangled between sculpture, molding and CNC. From these combinations I wish to open a dialogue between rationality and irrationally.
Anna Aagaard Jensen, citizen of Denmark born in 1990, based in the Netherlands as a conceptual designer who questions everyday life and speculates about our future. Connecting research of human behavior, pop culture, history, and gender into paths that pose alternatives to contemporary society.
Only to be used by women - derives from the project ‘A Basic Instinct’. With an expressive form relating itself to different parts of the human body, Lady K’s exaggerated bodyparts - coloured with actual makeup - will morph the body of her female user into a more confronting, empowering and expressive attitude.
She want’s you to act on a basic instinct! When seated you will see that what she is basically forcing you to do, is to confidently lean back, spread your legs and thereby claim your space!
Audrey Large (b.1994) is a French designer currently based in Eindhoven, Netherlands. She graduated with Cum laude from the Design Academy of Eindhoven, Ma Social design. Her fascination for the moving image and her early sensitivity to drawing pushed her in a design school environment to question the nature of objects, especially in their new digital dimension. It led her to the following statement: life is a VFX (visual e etc) movie in which objects are images and images are objects. Whether moving, 2d or 3d, she is an image maker. Intertwining lm making and animation techniques, her work uses digital image manipulation as potential creative tools to envision matter.
Implicit surfaces: MetaThings and SoftObjects
The Metathings stages 3d printed objects digitally hand crafted in the virtual space. The morphing of several 'metasobjects', liquid like digital matter, is used to form the initial shape of a 3d model that will be later converted into a mesh for further digital modeling, sculpting, and shaping actions. The digital artifacts are then materialized by 3d printing.
“When two MetaObjects get close to one another, an isosurface is created. They merge. In motion, multiplied, all MetaObjects present in a scene interact with each other, as one continuous changing surface. Their mutual influence increases as the threshold do. Mathematical formulas that are calculated on-the-fly by the software, the Metathings are made out of a fluid digital matter that smoothly morph.
Clémentine Schmidt is a french designer currently based in the Netherlands. After a Bachelor degree at the ESAD de Reims in 2013 She obtained her Master degree in Contextual Design from the Design Academy Eindhoven in 2017. Clementine’s work operate on images and visual context through different medium such as video, objects and installations.
Jānis Melderis is a communication designer that creates projects combining elaborate research with carefully crafted visual output.
Working with digital 3D matter, moving image, graphics, interaction and virtual reality, allows him to communicate knowledge, tell stories and create atmospheres. By proposing different ways of visual narration, its aim is to engage people in fresh, astonishing visual journeys.
Human desire is the motivation for us to perform endless loop of repeated actions.
It is hidden behind walls, under our feet and travels through our oceans. We are tempted to get rid of them and make a society wireless. In the Electric Chair, the concrete being constructed as a liquid material is shaped by electric cables that then connect shapes together, to finally power the whole object
Our purpose is simply a matter of using materials that are often not used in a specific way. Looking at Andy Warhol’s piece the Electric Chair regarding the technique of serigraphy used for the edition, points also the aspect of production. When you have an edition printing of 4000 it will have less value than an edition of 10, it will be more valuable, appreciated. We could see something similar with a building, a skyscraper built in the ghetto with only functional purpose has way less charm than a Haussmannian 6th-floor building. The choice of making the edition of 12 with every chair unique is to dig into each chair as individuals to find differences, to seek for new ways of making, of improving, of finishing the work.
With her eyes wide open Pleun is a young multidisciplinary artist/designer in the middle of the moving and changing world. By observing and analyzing moments of transition within society she
tries to create new thoughts and show a different perspective on a topic. By taking new ideas out of the abstract and giving shape to a possible outcome she wants to give the viewer the possibility to anticipate on the new developments before they sneak up on us.
Over the past generations the separation between sex and reproduction have been increased. Where it started with “sex without reproduction” we are now faced with the growing possibilities of “reproduction without sex”. Sex becomes entertainment based on seduction and erotics, pleasure is the new norm. The definition of sexuality is often being mixed up with sexiness, which reduces the focus exclusively to the appearance of the body. Physical beauty became the highest good and is connected with a deep fascination for young bodies. Youth is superior to adulthood. By polishing our presence we try to evade our devolution. But life damages the human body and the sooner or later we have to face our own morality.
Fountain of Knowledge,
Thick smears of pigment cover the computer screen in the form of a Kim Kardashian selfie, a Bob Ross YouTube video, and cult Japanese figure Hatsune Miku. By painting popular internet images onto this window to the digital world, Théophile Blandet closes our access to its omniscience. In ‘Fountain of Knowledge’, the painted images freeze the screen, just as we become frozen in the face of the sheer volume spilling out. The efficiency of technology is reduced to zero and becomes obsolete. The paintings are the opposite of the original images. They take hours, even days to make and have a physical staying power.
A table, a wall shelf and a light serves here as the base of the project. The 3 objects are used as foundations to attach and piece together other lights, power plugs or bottle holders. A basis for different uses that are joined together arbitrarily. Objects are overlapping with each other, and functions become redundant or overly specific. All in all the 3 objects are functional collages of common household objects.
Donghwan Kam D.K. focuses on the phenomenon that images starting from reality are transformed into digital files rather than physical materials.
The images of reality transformed into nonmaterial are being shared and modified through the Internet, and the process of reproduction is repeated in the trajectory.
In this work, he compared digital images to microparticles, which are constantly intervening in reality in the form of non-thing.
The combination of HEPA filter and GPU cooling fan learned from a Youtube tutorial video is set up to collect microparticles inside the exhibition hall.
25 x 25 x 42 cm
HEPA filter, GPU cooling fan, caramel, palm sugar
Everybody dies come watch TV
EDCWTV is a short animation film exploring
the semantics of post-digital melancholy. By disconecting
from reality in the light of a screen and
drowning in the swamp of a filthy couch, the protagonist
steps on a hazy path of finding himself.