New York City – ‘Mayan temples and Stonehenge have something in common,’ according to co-founder Alexander Groves. ‘They both represent humanity’s primordial devotion to the sun and ability to measure the star’s power as a source of life on earth.’ For the British artist and his partner, Japanese architect Azusa Murakami, technology and nature are inextricably linked. Whether it’s ancient architecture or clocks that track the intangibility of time, mechanisms have always been developed to try and rein in such immaterial energies, to allow us to gain a better understanding of our connection to the cosmos.
For technology to be more integrated in our lives, it has to be less distinguishable from real-world materials
A marked departure from its object-based and narrative-driven approach, the London design duo has spent the past few years developing open-ended and experiential projects that give shape to ethereal forces. Works like the 2017 sensorial installation – developed with fashion brand COS – and the 2018 I breathing sculpture implement new technological interfaces. ‘Rather than use standard LEDs or screens, we’ve investigated this relationship through the use of ephemeral components found in nature,’ Murakami explained. ‘For technology to be more integrated in our lives, it has to be less distinguishable from real-world materials.’
As the culmination of a six-month residency at New York , Studio Swine opened the exhibition earlier this month. On view until 10 February, the immersive, site-specific installation debuts two new speculative projects that harness the properties of atmospheric matter.
Created in partnership with the nearby Urban Glass factory, The Dawn Particles collection is comprised of various glass-blown Krypton light-works. The wall-mounted linear and amorphous sculptures contain and pulsate various levels of magnetized plasma to emit light. The Fog Painting series champions the volumetric properties of contained fog to project dichromatic light and simulate the rotation of the sun thanks to the use of robotics. Studio Swine developed the Dawn Particles and Fog Paintings works at A/DO, making full use of the incubator’s fabrication labs and a wide range of onsite expertise. This interdisciplinary context pushed the duo to work on a more instinctual level.
We were drawn to the dramatic skies and sunsets that are often visible in Greenpoint, where A/D/O is located