The newest chair by Nordic Comfort Products (NCP) is a unique and sustainable twist on an old classic. Their R-48 model has furnished schools and offices since the 1960s, but has previously required virgin plastic and a metal base. Their recent addition, the S-1500, was designed by international design firm Snøhetta, and is constructed from nothing new. The marbled green chair is composed of 100% recycled plastic sourced from local fish farming companies’ old fish nets, ropes, and pipes and a subframe made from recycled steel.
The design is a result of a two-year research project by Snøhetta to investigate plastic’s journey through the supply chain and see how it might be repurposed as a building material once it has served its original purpose. Typically NCP uses plastic from China to create their furniture. Their new chairs will create a local, circular economy which puts to use the worn out tools of neighboring businesses while also cutting down on fossil emissions from shipping materials internationally. The chair will be showcased at the Stockholm Furniture and Light Fair from February 5 to 9, 2019. You can see other ways Snøhetta is putting their plastic research to use on their website and Instagram. (via Fast Company)
Share this story
Vanessa Barragão (previously) recycles unused yarn from the textile industry to produce wall hangings and rugs that imitate the structure of coral reefs. Her recent work, Coral Garden, addresses the scale at which this massive industry pollutes the environment by forming an immersive installation created from an artisanal rug factory’s deadstock supplies. In the production of her sculptural rugs and tapestries Barragão attempts to be as ecofriendly as possible. The Portuguese artist utilizes ancestral and handmade techniques like latch hook, hand-tuft, embroidery, felt, and crochet in order to form each colorful element. Coral Garden is currently installed in the Art and Interaction section of Domotex 2019 in Hannover, Germany until January 14, 2019.
Share this story
Embroidered and Beaded Coral Sculptures by Aude Bourgine Honor the ‘Lungs of the Oceans’ in Protective Glass
French visual artist Aude Bourgine’s work is informed by her love of the environment and a sense of guilt for what humanity has done to the natural world. Using textiles, beads, and sequins, the artist creates displays that capture the beauty and fragility of coral for a series called “Poumons des océans,” which translates to “Lungs of the Oceans.”
Bourgine’s sculptures mimic the unique shapes, intricate textures, and vivid colors of living coral. Encased in glass bell jars, they are simultaneously isolated as objects of wonder, and also protected from harm caused by the hands of humans. “If we do not rapidly change our relationship with our environment, oceans will be dead by 2050,” the artist said in a statement on her website. “Their disappearance will entail a disastrous imbalance on all ecological, climate and human levels…We must take heed for this universal cause, which concerns each and every one of us.”
Bourgine has an upcoming solo exhibition at the Saint Julien Chapel in Le Petit-Quevilly in northern France from June 7 through 30, 2019. You can see more of Bourgine’s sculptural works of the sea on Instagram. (via The Fiber Studio)
Share this story
British artist Sue Austin creates multimedia, performance, and installation art, using her wheelchair as a means to explore new patterns of movement. In 2012, Austin was commissioned to create a series of multimedia events as part of that year’s Cultural Olympiad, in conjunction with the 2012 Olympics and Paralympics. The result, titled “Creating the Spectacle!” is a spectacular immersive dance performance and underwater exploration, which was shot near Sharm el Sheik, Egypt by Norman Lomax of Moving Content. You can watch a portion of the film below.
In the film, Austin uses her arms to guide her through the water, and she wears a summery dress with her long hair flowing freely, as she navigates through schools of fish and past massive coral reefs. Her underwater wheelchair is adapted from a standard-issue National Health Service chair, with battery powered propellers and perspex aerofoils to control turns. Austin hopes that the adaptations will be more widely available at diving centers in the future to make diving more inclusive.
A statement on her website explains, “she aims to find dramatic and powerful ways to re-position disability and Disability Arts as the ‘Hidden Secret’. She argues that this ‘secret’, if explored, valued and then shared, can act to heal the divisions created in the social psyche by cultural dichotomies that define the ‘disabled’ as ‘other’.”
Austin first performed with her underwater wheelchair in Dorset, U.K. in 2012, and has since performed, shown films, and spoken around the world about her art practice. You can learn more about Austin and her organization Freewheeling, on her website, and watch her TED Talk here. (via #WOMENSART)
Share this story
Connecticut-based Amy Genser (previously) uses rolled paper and acrylic paint to create topographic explorations of rocky and oceanic landscapes. Her sculptures reference natural forms and creatures such as barnacles, the tubular formation of beehives, and the way water travels and flows through Earth’s oceans. The works are also inspired by macro and micro depictions of nature, like cellular processes or a satellite images of a mountainous terrain.
Recently Genser has begun making multi-part pieces that allow her to work more sculpturally. She will present her rolled paper landscapes in the upcoming group exhibition Common Ground opening at Amy Simon Fine Art in Westport, Connecticut on November 3, 2018 and running through December 31, 2018. You can see more of her work on her website, Facebook, and Instagram.
Share this story
System 001: An Innovative Design to Remove Plastic From the Ocean has Been Deployed off the Coast of California
Founded in 2013 by 18-year-old (at the time) inventor Boyan Slat, The Ocean Cleanup is a nonprofit organization that’s working to clean up our oceans by removing plastic. After five years of rigorous design and testing, the Cleanup’s cleaning apparatus, called System 001, has been deployed off the coast of California.
System 001 is a passive collection apparatus that works by moving in tandem with the ocean’s currents, taking advantage of the water’s circular movement patterns, called gyres, that cause the trash to accumulate in the first place. The Ocean Cleanup points out that 92% of the debris in the Patch is still large enough to be collected using the System’s large suspended net, and it’s critical to remove this plastic now before it degrades into microplastics that enter the food chain. Because of the net’s passive, slow-moving design, the group has reported that it has not caused animals to get caught, presumably because they have sufficient time and space to navigate away from the debris-funneling nets.
While the organization has global aspirations and an international team (the founder is Dutch), their first focus is on the massive Pacific Garbage Patch, which floats in the ocean between California and Hawaii. The Pacific Garbage Patch is the largest aquatic aggregation of trash in the world, first recognized thirty years ago. It is estimated to contain about 80,000 metric tons of garbage spanning 5.2 billion square feet (nearly a million square miles). Ocean Cleanup’s boat, the Maersk Launcher, towed the System 1,200 miles from Alameda to begin its work.
Share this story
The latest installation by ceramicist and ocean advocate Courtney Mattison (previously) is Confluence (Our Changing Seas V), a porcelain coral arrangement produced for the US Embassy in Jakarta, Indonesia. The site-specific work features a vibrant cluster of coral structures at its center which turn stark white the further they are placed from the installation’s core. This shifting gradient references the rapid devastation caused to reefs as temperature levels rise and force corals to lose their colorful algae.
This installation is a celebration of Indonesia’s coral reefs, while also pinpointing the human-caused damage that infects the vibrant systems. “Corals, anemones, sponges and other reef-dwelling invertebrates coalesce into a cyclone-like spiral with colorful healthy corals at the eye of the storm, their tentacles and branches dancing in the current,” explains Mattison. “Toward the edges and tail of the swirling constellation, corals sicken and bleach, exposing their sterile white skeletons—a specter of what could be lost from climate change. Yet at its heart the reef remains healthy, resilient and harmonious.”
Indonesia is located at the heart of what is called the “Coral Triangle” or “Amazon of the Sea.” This environment is host to more invertebrate species than can be found anywhere else on the planet, in addition to thousands of species of fish which thrive in the rich ecosystem. Mattison hopes that her handmade constructions of the Coral Triangle’s diverse specimens produces an excitement in viewers while sparking an interest to protect the delicate balance found in Indonesia’s coral systems.
Mattison is exhibiting another recent installation titled Afterglow (Our Changing Seas VI) in the group show Endangered Species: Artists on the Frontline of Biodiversity, curated by Barbara Matilsky, at the Whatcom Museum in Bellingham, Washington through January 6, 2019. Mattison will travel to Bali at the end of October to unveil a 60-foot-long community-based coral installation she designed for the Coral Triangle Center in Sanur, Bali titled Semesta Terumbu Karang—Coral Universe. The work features over 2000 elements sculpted by a team of over 300 volunteers, coral reef conservationists, and Balinese artisans. You can see further conservation-based projects by Mattison on her website and Instagram.
Share this story
Editor's Picks: Street Art
Highlights below. For the full collection click here.