11” X 17” by Elisa Van Joolen | 2012
My Graduation master thesis ‘UNLESS YOU REMOVE: Objects that ask for an action’ on show in the following events and venues:
- It has been exhibited at the show ‘Up Close, Wide Open’ in Eindhoven during Dutch Design Week 2012.
- It has been presented by Neutra Ediciones at ‘JustMad: Emerging Art Fair’ in Madrid from February 14th to 17th, 2013.
- It will be shown as part of the exhibition ‘Diseño a secas’ at the Centro Andaluz de Arte Contemporáneo in Seville on June 8th-9th, 2013.
“Usually creating an object involves the addition of material. In this project by Luis Gómez Barquín, it’s the other way around. It is all about removing the excess to slowly tailor it to individual preference. In ‘Unless you Remove’, he has applied this method to a chair and a rug, but stresses that the idea can be applied to almost anything. In the beginning, his chair is not a chair yet. It simply has the potential to become a chair. It is a cube made up of layer upon layer of thin perforated wood. Only by removing parts of the layers, does it slowly ‘degenerate’ into a chair. In the same way, Barquín’s blanket starts off as a heavy, inflexible, thick mound of woven textiles. By picking away at the cloth it is transformed into a functional blanket. This process has been designed to take time. Lots of time. Barquín believes that relatively simple, repetitive tasks have a healing effect. ‘People nowadays think too much. Every time you physically remove something from the object, it’s like getting rid of some mental clutter’, he says”.
Credits: this quoted text by Annemarie Hoeve; art direction of these two pictures by Petra Janssen; these two photographs by Femke Rijerman. All works © Luis Gómez-Barquín Lanne-Lenne. All rights reserved.
Visit also my main webpage www.lanne-lenne.com for more info and projects.
‘Unless…’ cutouts | 2012
Handmade cutouts to detail and represent some of the objects that form the family of pieces ‘Unless you remove’ resulting from the project -a lamp, a chair, a blanket- by removing material from several sheets of superimposed semi-transparent papers…
Papercuts by Peter Callesen | Denmark
LandLinescape | Invisible infrastructure of ideas | My 3rd Term Finals | 2011
Sunken lanes, hollow roads, military fortifications, highways, former defensive walls, harvesting lands… nature or man-made lines within the countryside of Maastricht where the landscape can be discovered on a sequence, sometimes you are higher, sometimes you are lower. A forgotten large-scale “linescape” with a strong sculptural character that makes you feel really embraced by nature, in direct contact with earth, inside a big piece of non-deliberate landart. A personal research on “linescape” given expression to a series of postcards -a mapping series, a lines series, a personal intervention series and a trip series- that will travel by mail around the world, looking for being promoted, discovered and experienced as a reference of a unique landscape of The Netherlands.
The five series of my “linescape” postcard collection are shown next:
*Man-made line series
*Nature-made line series
*Trips series
*Personal intervention series
*Mapping series
(+) Impressed by the sunken lanes around Maastricht, my project is not about “landscape” but “linescape”. I find it very artistic and sculpture-related. I have gone several times to Maastricht and surroundings to check personally these sunken lanes in the landscape but also other “man-made” lines that I consider very related to each other, such as the military fort of Maastricht or the former defensive wall of the city. I was taking pictures every 30 steps while I was making these promenades to express the feelings you have when you follow these lines, and how you are discovering the landscape on a sequence, sometimes you are higher, sometimes you are lower. In each line, I found something interesting in one point (invisible landmarks) because a line is made out of points: a small chapel, a water fountain… So, how can I highlight the landscape of Limburg and put it into value? What if this area is in a way a big artwork of Michael Heizer for instance? And what if in the end I make a point intervention on one point of one of these lines that embodies and reflects even more this sculpture character and the rest of the features, such as the feeling of been embraced by nature, direct contact with earth, partially vision of the landscape, etc.?
Here, some pages of the research booklet:
Mentored by Rianne Makkink
“Muros de luz” by Aitor Ortiz | 2005 | Spain
The architecture removes the stone roughly from its nature condition, transforming and transferring it to a new material and constructive order dominated by an abstract thought, showing the beauty of the unity between both stone conditions, natural and artificial.
Michael Heizer | Landart artist | USA
Kawamura-Ganjavian | Architecture + Design | Founding members of the multidisciplinary creative platform Studio Banana | Madrid
Sou Fujimoto
Must-know architect | nº 8 | Sou Fujimoto | Japan
House before house, Tokyo, 2008
Tokyo Apartment, Tokyo, 2006
House N, Oyta, 2008
Final wooden house, Kumamoto, 2005
EnsambleEstudio
Must-know architect | nº 6 | Antón García-Abril from EnsambleEstudio | Madrid, Spain
Hemeroscopium House, Las Rozas, Madrid, Spain, 2005
Enric Miralles
Must-know architect | nº 1 | Enric Miralles | Spain
Mercaders House, Barcelona, 1994
Cementerio, Igualada, 1985
Gas Natural office building, Barcelona, 2008
Biblioteca Palafolls, Barcelona, 2007
Small house for a Kolonihaven, Copenhagen, 1996
Parque Diagonal Mar, Barcelona, 2002
How to lay out a croissant, Horizontal equilibrium, 1990
