The "Art & Interaction" zone will present the keynote theme of "CREATE'N'CONNECT" in a sensory feast of exhibits from the worlds of art and design.
The installation WAVERIDER by the designer Konstantin Landuris in cooperation with the manufacturer Findeisen is formed by a huge wave of recycled needle-punched nonwoven. A perfect wave that symbolizes the future use of resources.
As simple as the idea of not letting material into the seas as garbage, the process of recycling and upcycling materials is complicated.
And just as the designer creates the wave and networks it between manufacturer and trader, so all visitors are asked playfully to ride the wave on a surfboard. The selfies and photos created here are connectd with each other in the web, thereby distributing and manifesting the message – just in the spirit of CREATE'N'CONNECT .
With the installation HAPTIC COGNITIVITY the interior architect Sophie Green connects the dynamic network of impulses with a broad array of contemporary flooring solutions. Cohesively united by a common purpose; inspired by freedom of choice.
Viewed from a distance, the image of a data-processing cell arises. From close up, things digital morph to an inspirational and tactile experience. Emotional appeal born of technology and connectivity.
Hall 9, stand S6
Studio Vanessa Barragão is a design studio focusing on the artisanal techniques and wasted yarns from the industry to produce textiles and products for interiors.
Growing up in the seaside, her connection to the ocean is the inspiration for her artworks. Vanessa Barragão's work is characterized by her captivating environments of coral reefs, cleverly combining craft and recycled materials into unique and luxurious sculptural carpets and tapestries for floors and walls.
Vanessa was born in Albufeira, in the south of Portugal. Her studio was founded in 2014 when she attended a Master degree at the Lisbon University in fashion and textiles design. There she developed her first wool yarn collection and tapestries through an ecological artisanal process. Currently, she is based in Porto, the Northern region of Portugal where the nation's textile industry core is located, and divides her time between collaborating as a textile designer for an artisanal rugs factory and running her studio.
The textile industry is one of the most polluting in the world. In almost everything process chemicals are used, specially when it comes to the fibers treatment and dyeing. All the machinery used requires tons of energy while producing a lot of waste and disposable trash. It is extremely harmful for our world and it affects all of its different natural environments, particularly the ocean which absorbs 90% of the atmosphere pollution, warming up itself to the point that so many species get threatened, being the corals, who sustain so many other creatures, one of the most endangered ones.
Vanessa believes in an upcycling effort towards the right way to try to fight against this kind of negative mindset described above. All the materials used come from the deadstock of several local factories which is first cleaned and then selected to recycle and reuse in her projects. Her production is completely artisanal and handmade by using ancestral techniques, like latch hook, felt, knitting, macrame and crochet, to create her artworks.
Hall 9, stand S9
Rena Detrixhe is an American interdisciplinary artist who creates contemplative work combining repetitive process and collected or scavenged materials to produce meticulous, large-scale objects and installations. Drawn to materials which possess an inherent story or familiar source and often utilizing natural elements, a continuing objective in her practice is to investigate the relationship between humans and the more-than-human world. On view is her award-winning work, Red Dirt Rug.
Rena Detrixhe composes her installations using red dirt gathered in the US State of Oklahoma. The work explores cultural and ecological relations to the land with attention to histories of injustice. To make her "red dirt rug", Detrixhe begins by processing soil into a fine silt. After spreading it in an even layer across the floor, she meticulously presses a pre-determined design into the smooth surface of the dirt using found shoe soles to create intricate patterns.
This work embodies the complicated history of the human relationship to nature, particularly in the artists' home state of Oklahoma, where human presence has deeply altered the landscape. This rich red earth is the land of the Dust Bowl, the end of the Trail of Tears, land runs and pipelines, deep fault lines and hydraulic fracturing. There is immense beauty and pride in this place and also profound sorrow. The refining and sifting of the soil and the imprinting of the pattern is a meditation on this past, a gesture of sensitivity, and the desire for understanding.
From a western perspective, a rug is an object of luxury; it is a symbol of authority and power. It is something to own. It is also an article of beauty and cultural significance and the result of many hours of careful labor. Through this form, Detrixhe questions the tension between nature and human impact while suggesting the ubiquitousness and preciousness of the earth below our feet.