Akina Yoshitake Lopez . design portfolio
Phone: 6 86103259 LinkedIn: http://www.linkedin.com/in/akinathais Skype: akiina.thais
`PER + MANERE’ .
mechanism of repetition
II. `SLOW DOWN’ chair .
experiment with concrete and fabric
II. `SILENCE SUSTAINS SPEECH’ .
III. `TERRAS VAZIAS’ VISUAL CONCEPT .
storytelling from music
‘ PER ’ : through ‘ MANERE ’ : to remain, to expect, to endure. a search for understanding about repetition as a mechanism of expression through movement.
Pattern design, the sense of rocks and the sense of the temple Sense.
About the materialization of repetition, shodo is a good example. Practically, the initial base from the learning process is about making a ‘correct’ line according to the technique. There is freedom of expression in an ideogram drawing, but there is a limit from what is ‘good’ to what is ‘bad’. This limit, according to a teacher, is something that a person can feel rather than discuss it technically.
Pattern design has always caught my attention in relation to the meaning that the total (the all) grants to the parts when they are set together in a composition. In the book ‘The wisdom of the sands’ by Saint-Exupéry there is a passage that says that the meaning of the rock was on the temple in which it was part of. The difference between the amount of rocks and the temple was the sense of the temple.
“I will tell you then, about the sense of the treasure. Which is firstly invisible, never belonging to the essence of the material world. To the man it only counts the sense of things.”
What determined the sense of the rock, whether seen as a part or as a total, was the way of seeing itself and where its value was setted… There is something that only the temple can say about the value of the rock. Considering itself part of a total does not diminish or take away its singularity, for the essence of identity does not lay in its materiality (and the apparent similarity with all the other rocks), but on the sense surrounded them all. Otherwise, if the essence was about material properties, there would have an amount of rocks and not a temple. The connection between this passage and the pattern design lays on the fact that there is (or could have) a value granted to the ‘all’ that is not existent in a separated part. A wave in the ocean. A drop in a tempest. A shot in a war. Today in eternity. In which ways every wave make us know the ocean? How does the sense of eternity fulfills each ‘todays’?
The repetition from the movement of tracing a line was able to create a ‘knowledge
the line’ due the experience improved by technique, but that conferred another aspect even outside the materiality of the ink and the paper. The repetition, besides setting free the lines from symmetry on the first tries seeking expression, was essential to the movement as a whole. The same desire of sense and expression should pass through all the movement, repeatedly and continually, otherwise that would be an inkblot and not expression (as the rocks could be an amount of rocks instead of a temple).
Knowledge of the line and the expression in shodo Expression.
The movement is something essential for repetition to take place. In the book ‘Repetition. A venture in experimental psychology’ (1843), the philosopher Søren Kierkegaard says that:
In the text ‘Smooth and Striated’, Deleuze and Guattari say that “What distinguishes the different types of travel is neither the objective quality of the place, the measurable quantity of the movement, nor something purely spiritual.
“Repetition and recollection are the same movement, only in opposite directions, for what is recollected has been, is repeated backward; whereas the real repetition is recollected forward” Synthetically, he intended to make dialectics into a form of movement. A movement that is part of a mechanism of a slow qualitative accumulation that allows in a certain moment, by the reconfigurating/ reoriented effectiveness of the singular experience, the qualitative transfiguration that receives the name of constitution of sense. Considering this movement from dialectics, the definition of a line according to the Wassily Kandinsky in his book ‘Point and line to plane’ (1926) he says:
Point. Line. Plane; Tension of the line; Movement.
Rather it is the mode of spatialization, the manner in which one occupies space.” This concept is translated when it is about the point and the line. In a striated mode of spatialization a line is the distance between two points and through a smooth perspective the line is a symptom of the trajectory from one point to another. Another application of this concept is related to navigation and the way to be guided: by a map (striated mode) or by a trip diary (smooth mode). The guidance through a trip diary needs movement and encounters to exist. (I need to get to a place from where I see a reference to comprehend the space surrounding and then keep the journey). Through a map the measure defines the space. (I foreknow the distance to be traveled).
“In fact, no materializing of external forms expresses the content of a work of painting but, rather, the
forces = tensions which are alive within it.” A primary element for visuals as the point has its tension concentrically, so its immobility grants its visual expression. A line, on the other hand, is the reflexion of the resonance between the concentric and external forces that generates a movement.
Modes of spatialization; Navigation in the sea; Trip diary and map; Encounters in the smooth space. Journey
(tension of the line + trip diary + revelation through repetition)
(textile + ink + line space + expression + trajectory desire + movement)
“(The abstract) has the power of expression and not of form, that it has repetition as a power, not symmetry as form.” (Deleuze and Guattari)
Considering that repetition is much more related to expression rather than to symmetry of its shape, the limitations of symmetry’s structural rules are substituted by a space of expression in which repetition is the prompter tension of the movement.
Project The idea was to see the space as a smooth space in which the line could inscribe a trajectory that would enables it to ‘know’ the space, only by encounters, not distances. Through the trajectory that the space would be revealed. The motor force would be the repetition of a desire to transit between two defined points, through a line (a thread). When the ink of the thread encountered some unexpected marks of the textile (wrinkles, for example), only them these accidents turned to be perceived and visualized. So, by repeating the movement, these marks were revealed. If there were no repetition, but instead, a single trip, there would exist the encounter between a certain wrinkle and the ink from the thread, but the inked mark would be a symptom of a single experience. A little would be known about the surface. The repetition grants its continuous transfiguration.
what would life be? Who â€œIf there were no repetition,
could wish to be a slate in which time inscribed at every instant a new text, or be a memorial of things past? Who could wish to be moved by all that is ephemeral, by the new, which constantly entertains the soul, softening it? â€œ (Kierkegaard, 2009: 21)
To access the complete project click here. (in Portuguese)
‘SLOW DOWN’ chair concrete and fabric experimentation.
2018 / HUGE TRANSDISCIPLINARY ATELIER HUGE HOME PIECE
‘SLOW DOWN’ chair .
concrete and fabric experimentation. A practical experimentation with the possibilities of the joint between concrete, fabric and aditives. | materials | process | handmade |
`SLOW DOWNâ€™ process To see the video of the process click here.
The project started by the chosen material : fabric and concrete (by personal taste on their textures and process and by demand, once we (me and Hugo, from Huge) decided to do part of the furniture of our wedding in May 2018. These materials amaze us a lot and that was the start pointing. Experimentations started with different kinds of natural fabric and types of concrete mixtures. It was tested in small pieces of fabric and then tested its strenght in a 1:1 prototype.
`silence sustains speechâ€™ textile manifesto | speakable_unspeakable
â€œThe first thing, the unconditional condition for anything to be done, consequently the very first thing that must be done is: create silence, bring about silence...â€? SĂ¸ren Kierkegaard on `For Self-Examination` (1851)
Möbius strip structure.
Music notation with the sustain pedal interval symbol.
`Endless ribbon` (1953) by Max Bill.
WE CAN SPEAK ONLY WHAT IS SPEAKABLE. Wittgenstein (1889-1951) says that language is used to describe our finite and temporal world. Only what remains inside the limits of the picture theory of propositions is describable through language and one cannot even describe that limit; “The idea of such an unreality as a communication which reaches its goal means the elevation of communication into a transcendent perfection where there is no longer any need to communicate. “ and “One can speak out of this experience, but not of it. THE ULTIMATE IN THINKING AS IN COMMUNICATION IS SILENCE.” according to Karl Jaspers (1883-1969).
The briefing was a textile manifesto with no images (at the WDKA Lifestyle & Design course). The manifesto was initially `THE MOUTH SPEAKS OF WHAT SILENCE IS FULL OF` making a connection with the `For the mouth speaks what the heart is full of ` (Holy Bible, Luke 6:45) changing the heart for the silence. But because this reference is not known from the common sense, this relation between heart-silence wouldn`t be reconized. It was changed to `SILENCE SUSTAINS SPEECH` because of the meaning of the word `sustain` in music notation in connection to the construction of the Möbius strip. The sustaining parameter in a notation represents the period of time which the sound remains before it become inaudible, or silent. The Möbius strip is a surface with only one side (when embedded in three-dimensional Euclidean space) and only one boundary. It has the mathematical property of being unorientable. With these two mechanism in mind, the manifesto was done as a white bracelet with a lasercutted phrase `SILENCE SUSTAIN SPEECH` as a way to bring the relation silence/ speech to a visible/invisible dialogue through the apparent invisible phrase on the white fabric with no front/back side of the bracelet.
`TERRAS VAZIAS` visual concept Storytelling through music
2017 / HUGE TRANSDISCIPLINARY ATELIER
Serie of illustrations based on the story of a character in his journey through subjectivities. Each sing translated into a drawing, and the story into a handmade CD cover. | illustration | black and white | music | narrative |
The concept for the project was to tell a story of a character in its journey through
PAPER, ACRYLIC PAINTING, CHARCOAL AND TRACING PAPER. The special edition of the CD had a purpose to illustrate a journey diary, with a collection of handwritten and handdrawn thoughts and confessions. The intention was to highlight the texture of paper and how it could imprint its usage through the traces of touch. The vegetal paper was used to reinforce the fact that what is seen, is seen in layers. The white painting is what makes the black line be inserted into space through its immensity.
DISCOVERIES, JOYS, SOLITUDE, SOUL REST, The band had 9 songs, each of them with a small text in a continued story through the album to have a `side confession` for each song. Based on their storytelling we made a path to visualize it. Basically the journey is based on 3 movements that repeat and generate different perspective each time: CONTEMPLATION, CONFESSION, WALKING.
We opted for a monochromatic color scheme to highlight the immensity of the color white in contrast to a skinny and textured black line in each illustration. The white is about the involving unknown in which the human experience stares and inscribe its humanity. Drawings were made on a newspaper with charcoal pencil.
`DAS SOMBRAS` ( `from shadows` ) - image above (lyric video link) / filmaking and video edition by Hugo Lopez from Huge atelier.
`ME ESPERAS` ( `wait for me` ) - image on the left - (video clip link) filmaking and video edition by Hugo Lopez from Huge atelier.
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