Brooch. Titanium, carved and polished glass, stainless steel
"This piece is inspired by the Bauhaus movement and its interest in light reflection and optics. The brooch is constructed from titanium and carved / polished glass that has been reworked into a polished lens. When looking through the glass it distorts the lines under the brooch and will alter the view of the fabric of its wearer."
“In a work of art, the laws of the physical world, the intellectual world, and the world of spirit function and are expressed simultaneously.”
-Walter Gropius, architect, designer, teacher and Bauhaus founder.
This color structure is influenced by Johannes Itten, the artist, teacher, and color theorist who was appointed by Gropius, to oversee and teach the preliminary course that all incoming Bauhaus students were required to take.
"I chose the above women (and one man) for their collective Bauhaus stories and for the poses that were made of them as entire figures – and so for the neckpiece’s technical look.
When I was researching the Bauhaus, I found that my information was limited to my university design classes and art history course content. The Bauhaus premise starting out was that there would be gender equality unlike other arts and architecture schools of the time but some male faculty at the Bauhaus decided to relegate the women to the weaving studio and other appropriate disciplines. One of the women that broke out of that was the metalsmith Marianne Brandt whom succeeded Moholy-Nagy as the workshop’s studio director in 1928.
I really wanted to include Anni Albers and Marianne Brandt but I could not find full-figures images for this piece (they were pictured at the loom and the bench respectively which hid some body parts). I decided to use the t-square and circles w/geometric perforated shapes as my objects to represent the design elements of The Bauhaus. Most of the above figurative images come from the book Bauhaus Mädels – A Tribute To Pioneering Women Artists by Patrick Rössler – a very good reference for this project."
An exciting new piece made for our From Bauhaus to Our House exhibition:
“This piece is an imagined collaboration with Josef Albers, who was a pioneer of the Bauhaus, modern art education, and curved-crease folding. Our curved-crease sculpture is always inspired by Albers' foldings from the late 1920s, but we wanted to incorporate his later work on colored murals. Specifically, we adapted Albers' infamous 25' × 55' mural “Manhattan” (1963) that was in the lobby of the Met Life building (formerly the Pan Am building) until its controversial removal in 2000. Because the piece is currently in a landfill, we based our interpretation on the better-documented “Maquette for Pan Am Building Mural” (1963). We took the repeating middle part of the design, warped it around a circle, printed it onto paper, and folded along aligned concentric circular creases. The resulting pieces newly combine two aspects of Albers' work in a way that we hope he would find exciting.”
Porcelain, pigment, wheel thrown, marbling, oxidation and reduction firing, polishing
"Inwha Lee skillfully uses translucence, a result of thin vessel walls, for her elegant creations. She also mixes her own clay utilizing various techniques to obtain different degrees of translucence. By carefully removing layer by layer from the clay body while it is spinning on the potter’s wheel, she crafts vessels whose walls are sometimes a mere 1.5 mm thin. After glazing, the light shining through these extremely thin-walled vessels makes for intensely luminous colors. despite their thin walls, her objects are perfectly usable, and functional."
Porcelain, pigment, wheel thrown, marbling, oxidation and reduction firing, polishing
"People are moved by many things in the world, but there is one thing in particular that inspires me: an object carefully and calmly executed by skilled hands, such as a metalwork with no mark of soldering or a quilted cloth with perfectly consistent, almost rhythmical, stitches. Such objects have a special kind of beauty that is beyond their exquisite forms and alluring narratives. Contained in them is one’s life and time spent endeavoring to best handle the given material. Sincere efforts to perfect every corner, and beautiful objects that only experienced hands can create make my heart pound. I make my way to my studio every day to create such objects."
Based on data visualization by Bradley Shanrock - Solberg studies
conducted with exhibitions comparing emotional response to woven face versus a print of the same face.
Brooch. Titanium, carved and polished glass, stainless steel
"This piece is inspired by the Bauhaus movement and its interest in light reflection and optics. The brooch is constructed from titanium and carved / polished glass that has been reworked into a polished lens. When looking through the glass it distorts the lines under the brooch and will alter the view of the fabric of its wearer."
“In a work of art, the laws of the physical world, the intellectual world, and the world of spirit function and are expressed simultaneously.”
-Walter Gropius, architect, designer, teacher and Bauhaus founder.
This color structure is influenced by Johannes Itten, the artist, teacher, and color theorist who was appointed by Gropius, to oversee and teach the preliminary course that all incoming Bauhaus students were required to take.
"I chose the above women (and one man) for their collective Bauhaus stories and for the poses that were made of them as entire figures – and so for the neckpiece’s technical look.
When I was researching the Bauhaus, I found that my information was limited to my university design classes and art history course content. The Bauhaus premise starting out was that there would be gender equality unlike other arts and architecture schools of the time but some male faculty at the Bauhaus decided to relegate the women to the weaving studio and other appropriate disciplines. One of the women that broke out of that was the metalsmith Marianne Brandt whom succeeded Moholy-Nagy as the workshop’s studio director in 1928.
I really wanted to include Anni Albers and Marianne Brandt but I could not find full-figures images for this piece (they were pictured at the loom and the bench respectively which hid some body parts). I decided to use the t-square and circles w/geometric perforated shapes as my objects to represent the design elements of The Bauhaus. Most of the above figurative images come from the book Bauhaus Mädels – A Tribute To Pioneering Women Artists by Patrick Rössler – a very good reference for this project."
An exciting new piece made for our From Bauhaus to Our House exhibition:
“This piece is an imagined collaboration with Josef Albers, who was a pioneer of the Bauhaus, modern art education, and curved-crease folding. Our curved-crease sculpture is always inspired by Albers' foldings from the late 1920s, but we wanted to incorporate his later work on colored murals. Specifically, we adapted Albers' infamous 25' × 55' mural “Manhattan” (1963) that was in the lobby of the Met Life building (formerly the Pan Am building) until its controversial removal in 2000. Because the piece is currently in a landfill, we based our interpretation on the better-documented “Maquette for Pan Am Building Mural” (1963). We took the repeating middle part of the design, warped it around a circle, printed it onto paper, and folded along aligned concentric circular creases. The resulting pieces newly combine two aspects of Albers' work in a way that we hope he would find exciting.”
Porcelain, pigment, wheel thrown, marbling, oxidation and reduction firing, polishing
"Inwha Lee skillfully uses translucence, a result of thin vessel walls, for her elegant creations. She also mixes her own clay utilizing various techniques to obtain different degrees of translucence. By carefully removing layer by layer from the clay body while it is spinning on the potter’s wheel, she crafts vessels whose walls are sometimes a mere 1.5 mm thin. After glazing, the light shining through these extremely thin-walled vessels makes for intensely luminous colors. despite their thin walls, her objects are perfectly usable, and functional."
Porcelain, pigment, wheel thrown, marbling, oxidation and reduction firing, polishing
"People are moved by many things in the world, but there is one thing in particular that inspires me: an object carefully and calmly executed by skilled hands, such as a metalwork with no mark of soldering or a quilted cloth with perfectly consistent, almost rhythmical, stitches. Such objects have a special kind of beauty that is beyond their exquisite forms and alluring narratives. Contained in them is one’s life and time spent endeavoring to best handle the given material. Sincere efforts to perfect every corner, and beautiful objects that only experienced hands can create make my heart pound. I make my way to my studio every day to create such objects."
Based on data visualization by Bradley Shanrock - Solberg studies
conducted with exhibitions comparing emotional response to woven face versus a print of the same face.
FROMBAUHAUSTOOURHOUSE Contemporary Explorations of the Bauhaus Movement
A Group Exhibition inspired by the 100 year anniversary of the Bauhaus Movement. Celebrating the ideology with contemporary textiles, ceramics, metalwork, and jewelry.
Exhibit title is from the book of the same name by Tom Wolfe published in 1981.
