One of us had a fantasy about an object that could bring a womb-like pleasure, meaning - the ultimate satisfaction that the material environment can give. We merged our two different design practices into one object taking this fantasy as a starting point.
Such abstract mode of thinking, we found, allows to erase what we know about domestic objects and opens up the possibility for re-thinking and re-creating them.
However, the same way the mind gives a clear body to the fantasy by restraining, the construction defines and forms a fluid shape into an ergonomic entity.
There is a hypothesis that humans first started to shape clay with their pointy body parts.
to a friend whose hand I hold in my dreams
Embracing Touch is a project about designer’s relation with the works and designer’s presence in them. Within our works we give away part of ourselves. We give our intimacy for using.
Design is a matter, tangible and desirable, that carries meaning in itself, in its body. It’s what you understand and experience through physicality. It’s like a garment that you can try on, see how it looks on you. The same way you project yourself through someone else.
So behind the matter stands a designer. Do we think how much intimacy, personality he or she leaves in the design? Would it change our perception meeting the author; facing the fact that a designer is a physical body, made from flesh and blood, having certain physiology, certain volume, smell, breath? Does it create intimate relation with the user? And does this intimacy attract or repel?
I chose wood for my experiments on how I can relate myself to material.
I see integrity between the working hand and the material surface. Skin is a medium for tangible sensations in processes of making and using the object. Therefore I start from a comparison between human skin and wood by treating wood surface as my own skin, giving the same qualities and emphasizing actions which we usually do with both surfaces. I blur the border between them.
Sensual, camera & editing Vytautas Gečas
Sensual body connection with a material and a shape.
Materials: maple, hard foam, rubber.
material experiments: hair and plastics
a self-portrait in a chair
Having a chair in mind as an image strongly related with human I aimed to embody myself in it. I looked for ways in which I could interact with the object, transmit something that was really me, my essence. Smell or, to be more precise, an idea of a smell seemed to be a true evidence of my presence.
As a medium to capture I used almond oil. I spread oil on my skin and after cleaning it with a tissue I applied the same oil on a sanded chair.
This performative exchange made us one. A wooden chair absorbed my tangibility. I could see myself as an object and relate my body to material environment.