Rainbows have fascinated mankind since ancient times. CHROMA’s goal is to capture the intangible quality of rainbows and bring a source of simple wonder into interiors. CHROMA was born out of an art + design installation proposal for a local co-operative financial institution. The original symbol for the co-operative movement was a seven band rainbow, which represented unity in diversity. Approximately 10" x 10" x 5.75" $160.00 each
Chroma - daylight
RISE (the way of flowers), deconstructed vase. Scientific glass, concrete Rise 4: 14, 12", 10”, 8” high, 6” wide, $490.00 Rise 3: 12”, 9”, 6” high, 6” wide, $395.00
Annie Tung - RISE, vase
This is another vase and yet it is my first vase. The function provides a good opportunity to explore design, form and void on a viable scale.
A peak refers to the highest point of a thing and to the peak bloom of flowers.
Maybe you’ve noticed a tree growing into and around a fence or a flower emerging from concrete cracks. I considered these small examples of nature overcoming human, industrial obstacles and aimed to capture this element of surprise, nature’s resilience, within a vase.
PEAK is inspired by the relationship between nature/cities, nature/human activity, nature/industry. PEAK’s clean, industrially spun form is disrupted with a crisp void then ‘finished’ with a top that completes the capsule shape.
The floral arrangement emerges from the void but the vase’s top (or ‘peak’) is visible, peering from behind the bouquet. The void and the ‘peak’ remind us of the fragile relationship between humankind and nature- what will happen when humankind totally overshadows nature? What will vases hold then?
Without flowers, PEAK is a strange object on its own. I prefer to design objects that when not in use, can stand on their own to evoke curiosity. Copper, 12” x 6” x 6”, $300.00-$515.00
Reminiscent of a 'moon' mirror. Etched SPILL, 16" diameter, from $300.00 Silver SPILL 24" diameter, laminated glass and silver, from $1,680.00 Gold SPILL, 16" diameter, laminated glass and 18k gold, from $1,657.00
LONG TIME chair is a reflection of current attitudes and behaviours. It is a leather lounge chair that evokes the feeling of sitting in a cocoon. It references the ambiguous, transparent border between public and private life, the blurred boundaries between work and home.
Materials: Leather, steel mesh, steel. Concept developed for de Sede, with Lorena Sauras.
Winter is a period of stillness. Illuminating darkness. Short days and long nights. Glimmering snow.
Recent technological innovations have made the process of working with marble easier and more accessible to artists and designers. I was interested in finding the balance or limits between traditional stone sculpting techniques and technology. The subtle delicacy of the marble fold and its transformation from thick to thin reveals the limit of CNC technology and highlights the capacity of the artisan’s hand. It plays a trick on the eyes, as marble appears to fold down like fabric at one end while a metal rod (seemingly) secures its base.
The theme of seasons and time to highlight craftsmanship and contemporary design. There were twelve objects, 3 crafts and designs for each season. This project belongs to winter. Made possible with ECAL and Vacheron Constantin.
Materials: Crystalline marble, chrome-plated copper and brass, 3W LED. Sculpted by Vincent Du Bois. H 285 x W 300 x D 110 mm, 2015.
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Love Spoons intends to heighten our sense of touch, translating an erotic poem into Braille on to the backside, meant to be ’read’ by one’s tongue. The quiet, visual and tactile beauty of Braille combined with erotic poetry make Love Spoons an unsuspecting victim of an elegant corruption.
Love Spoons blurs the boundary between functional object and sculptural expression, finding merit in both mediums. They were part of Radiant Dark 2009 and answered the theme of ‘elegant corruptions’. This exhibit was curated by MADE’s Julie Nicholson and Shaun Moore in Toronto. Below is the poem used on the back of the spoons.
POEM By Gwendolyn MacEwen, Canadian, 1941-1987
The slow striptease of our concepts ---it is even this which builds us for you I would subtract my images for the nude truth beneath them
As you, voluptuous, as with mirrors at the loins are unclothed piece by piece until each cloth is slander to your skin and nakedness itself is silk across your rising sex
Cast silver + brass, erotic poem in Braille meant to be 'read' with one's tongue, poem by Gwendolyn MacEwen. Various dimensions. 2009. Photo by Saad Qattan. Limited series of 3
These works are part of a period where I took taxidermy workshops with a hunter-taxidermist in rural Ontario with a friend, who was studying wild life biology. Hunting is a divisive topic, that has many layers to it. I find it fascinating and horrible, probably because I don't have the desire to engage with it myself .
Stacked, 2012, lamp with Brad Turner. Up-cycled ceramic tableware, light, acrylic, walnut, polyurethane, water jet cut, sandblasted. 56 L x 30.5 W x 30.5 D cm
Work made as I was finishing or finished a bachelors degree in metals + jewellery. As a student, I became obsessed with mourning and nostalgia in the wake of tragedy. 'Mourning' cutlery was the first gesture in this mood, followed by several other expressions found here and in jewellery. You will find that I often used cutlery and eating-related objects. This is because I believe one's absence is most articulated in the mundane, everyday, social routines of eating together. It has been a long time since I made work in this vein.
POINT DE PARIS
Collaboration with ECAL and Christofle.
Set of cermaic presentation plates for Restaurant de l'Hôtel de Ville, Crissier, Switzerland. Collaboration between ECAL, Restaurant de l'Hôtel de Ville, Bernadaud.
Parotia Bird of Paradise, male
Bloom is a project that built on the knowledge gained from Eclipse, and acts as a stepping stone toward future light projects.
Fragile Resilience is an exploration of behaviours and attitudes towards materials and objects. In this project I was interested in reconsidering fragility as a medium to create resilient objects. I chose to work with domestic objects from our daily environments. I wanted to create a material paradox of objects which appear to be fragile but may in fact be more resilient because of our timid behavior toward fragile materials.