BTT/R/UE & Endless Spring – Partition, 2022
↗ The Invisibles at Lithuanian National Museum of Art
✻ Group exhibition
✻ (Left) Collaboration w/ Clara Schweers & Kurina Sohn
✻ Aluminium, Glass, 3D Printed – PLA
✻ (Right) Personal work
✻ 3D Printed – PLA
✻ Group exhibition
✻ (Left) Collaboration w/ Clara Schweers & Kurina Sohn
✻ Aluminium, Glass, 3D Printed – PLA
✻ (Right) Personal work
✻ 3D Printed – PLA
The exhibition presents reinterpreted design objects created by contemporary artists, revealing the continuity of ideas and discovering unexpected connections in the present. Here, design as the process of object creation extends as a way of thinking and becomes a means of appreciating historical objects, drawing attention to our current relationship with furniture and the environment.
(Left) Reinterpretation of a metal casted table (Russia?) from late XIX S.
(Right) Reinterpretation of a screen divider (West Europe?) from the XX S.
(Left) Reinterpretation of a metal casted table (Russia?) from late XIX S.
(Right) Reinterpretation of a screen divider (West Europe?) from the XX S.
Imagi(ni)ng Flowers, 2021
Imagi(ni)ng Flowers is a speculative project that explores the entanglement between the imaging capacity of technology and the imagining of nature through the subject of flowers. Given flowers ‘lend themselves to long, highly charged, and highly judgemental aesthetic conversations’ (Elaine Scarry) they are situated within the discussion on ambiguity and simulation, to reflect on an overpowering landscape of images, a shifting relation to the nature and the world, and the question of how these are redefined by how we inhabit technology.
It builds upon the idea of nature as a potential reformer of the gaze, not in replacement of but together with technology and artifice. Therefore, it places it in constant relation to how we represent the world, live within images, and even re-define that which vision makes us knowledgeable.
Poems by Esteban Gómez-Rosselli
It builds upon the idea of nature as a potential reformer of the gaze, not in replacement of but together with technology and artifice. Therefore, it places it in constant relation to how we represent the world, live within images, and even re-define that which vision makes us knowledgeable.
Poems by Esteban Gómez-Rosselli
Either Flowers Will Remain, 2021
↗ Melkweg Award Nomination
✻ Visual and Material Research
✻ 3D Printed Lace
✻ Various Dimentions
✻ Printed Publication
✻ Visual and Material Research
✻ 3D Printed Lace
✻ Various Dimentions
✻ Printed Publication
If industrialisation has caused the disappearance of national crafts and endemic flora alike, turning to the fragility of nature and craft in the digital age has an innovative potential. The revival of the lace making through 3D printing, explores the shifting relation between representation and ornamentation as a means of capturing the gaze.
’Either flowers will remain’ is a series of floral portraits, depicting endangered European plants crafted as computer textiles following principles of the traditional manufacture of the craft. Appropriating the mannerisms of traditional lace in the process of digital image-making implies the recognition of a dynamic heritage.
Publication texts by Esteban Gómez-Rosselli
’Either flowers will remain’ is a series of floral portraits, depicting endangered European plants crafted as computer textiles following principles of the traditional manufacture of the craft. Appropriating the mannerisms of traditional lace in the process of digital image-making implies the recognition of a dynamic heritage.
Publication texts by Esteban Gómez-Rosselli
Blossoming Garden, 2021
↗ Objects for a New Kind of Society, Dutch Invertuals, NL
✻ Group Exhibition
✻ 3D Printed – PLA
✻ Various Dimensions
✻ Group Exhibition
✻ 3D Printed – PLA
✻ Various Dimensions
‘What would our relationship with a reconstructed Nature be like?’
By using digital tools I dived into our relationship with the physical world.
The project explores how the identity of man could lie hidden in nature, becoming a tool for self-reflection.
‘Blossoming Garden’ is a series of mirrors reflecting on our often superficial and unbalanced relationship with our natural surroundings. By encountering our own image through this staged nature, it becomes an invitation to rethink how we relate to our surroundings, training the gaze to practise a new kind of mentality.
By using digital tools I dived into our relationship with the physical world.
The project explores how the identity of man could lie hidden in nature, becoming a tool for self-reflection.
‘Blossoming Garden’ is a series of mirrors reflecting on our often superficial and unbalanced relationship with our natural surroundings. By encountering our own image through this staged nature, it becomes an invitation to rethink how we relate to our surroundings, training the gaze to practise a new kind of mentality.
Album Artworks, 2020–2021
Compilation of commissions and collaborations around the music field.
Multilogue, 2022
↗ Curated by 101sp.space
✻ Group Exhibition, Collective work
✻ 3D Printed – PLA, glass
✻ Stainless steel, Aluminium, Ytong
✻ Various Dimensions
✻ Group Exhibition, Collective work
✻ 3D Printed – PLA, glass
✻ Stainless steel, Aluminium, Ytong
✻ Various Dimensions
Multilogue are Lisa Ertel, Jenna Kaes, Hannah Kuhlmann, Delphine Lejeune, Juliana Maurer, Anne-Sophie Oberkrome, Clara Schweers, Kurina Sohn, Tatjana Stürmer and Adèle Vivet – 10 designers who have formed a temporary working group as part of the project space 101PS.
In order to escape the digital, and enter the physical world – they form a dialogue between residents and environment, between everyday life and mysticism, between then and now. After their 10-day workshop at the foot of Calmont, they presented their new works in a double show at GOLD+BETON and Mouches Volantes.
In order to escape the digital, and enter the physical world – they form a dialogue between residents and environment, between everyday life and mysticism, between then and now. After their 10-day workshop at the foot of Calmont, they presented their new works in a double show at GOLD+BETON and Mouches Volantes.
Printed Matter, 2020–2021
Compilation of commissions and collaborations designed for artists, exhibitions and personal research.
Unearthed–SP, 2021
✻ Collective work in collaboration w/ ↗ Clara Schweers & ↗ Kurina Sohn
✻ 3D Printed – PLA, glass
✻ Stainless steel, Aluminium, Ytong
✻ Various Dimensions
✻ 3D Printed – PLA, glass
✻ Stainless steel, Aluminium, Ytong
✻ Various Dimensions
Through our backend screens staring back at users’ undivided attention, the controlled, the copied, and the pasted are continuously being evaluated, summoning us to extract and share what strikes most. Images, doomed to take on a life of their own, nourish our constantly- refreshed, unearthed feeds.
Captured, recorded, and compressed into a new format, a series of five web-earthed species came into existence {unearthed-SP.001-005}. Closely resembling the familiar features of wildflowers, the species affinis {SP.} spreads its specimen, its potential .jpg-offsprings, acros the span of our feeds, dispersing itself across the web and searching for new modes of survival and surfacing in a digital-earthed age. As much as we ourselves are the image-consuming parameters fed by its multi- body, the web-earthed species is nurtured and sustained just as much by us. Reproduced soft selections of 3D-printed stems and flowers are presented in symbiosis with flameworked glass, meant to be activated and snapped by the eye of the beholder, but never contained to a single visual representation. Manipulated digital replicas of the physically undefined web-earthed species live on through the field of visibility, the system of our time-based media through which we digitally soft-pick and plant images.
Photography by Tobias Faisst.
Captured, recorded, and compressed into a new format, a series of five web-earthed species came into existence {unearthed-SP.001-005}. Closely resembling the familiar features of wildflowers, the species affinis {SP.} spreads its specimen, its potential .jpg-offsprings, acros the span of our feeds, dispersing itself across the web and searching for new modes of survival and surfacing in a digital-earthed age. As much as we ourselves are the image-consuming parameters fed by its multi- body, the web-earthed species is nurtured and sustained just as much by us. Reproduced soft selections of 3D-printed stems and flowers are presented in symbiosis with flameworked glass, meant to be activated and snapped by the eye of the beholder, but never contained to a single visual representation. Manipulated digital replicas of the physically undefined web-earthed species live on through the field of visibility, the system of our time-based media through which we digitally soft-pick and plant images.
Photography by Tobias Faisst.
Genius Loci is a self–initiated workshop bringing together 10 female artists and designers, to escape from the digital masses and enter into the physical world of a place.
We, Lisa Ertel, Jenna Kaes, Hannah Kuhlmann, Delphine Lejeune, Juliana Maurer, Anne-Sophie Oberkrome, Clara Schweers, Kurina Sohn, Tatjana Stürmer and Adele Vivet join forces and become a temporary collective.
We, Lisa Ertel, Jenna Kaes, Hannah Kuhlmann, Delphine Lejeune, Juliana Maurer, Anne-Sophie Oberkrome, Clara Schweers, Kurina Sohn, Tatjana Stürmer and Adele Vivet join forces and become a temporary collective.
Various, 2019–2022
✻ Objects, tests, experiments
✻ Various materials
✻ Various dimensions
✻ Various materials
✻ Various dimensions
Compilation of commissions and material explorations.
Through the Social Life of the Sea-Shell, 2021
✻ Research
✻ Sand 3D printed coffret
✻ Publication
✻ Sand 3D printed coffret
✻ Publication
Looking at nature is a critical moment of self discovery. The sea-shell has historically been part of this practice, which now hides behind the banality of its displaced context as souvenir.
This journey to re-evaluate the sea-shell through the practices of observing, collecting, describing, classifying, and manipulating a visual digital archive to reclaim its condition, first as a natural object, as a speculative object that has been central to mythic and scientific fascination, and as the unit of a wide constellation of value circulation. Through design research, it aims to salvage the inner world of coquillage.
Texts by Esteban Gómez-Rosselli
This journey to re-evaluate the sea-shell through the practices of observing, collecting, describing, classifying, and manipulating a visual digital archive to reclaim its condition, first as a natural object, as a speculative object that has been central to mythic and scientific fascination, and as the unit of a wide constellation of value circulation. Through design research, it aims to salvage the inner world of coquillage.
Texts by Esteban Gómez-Rosselli
