In the installation “Kneaded Memory,” the Portuguese visual artist Dalila Gonçalves presents a series of wreckage-shaped forms made of concrete at a variety ofscales. Part of the surfaces of these forms is covered with ceramic tiles (azulejos), which were molded to sit perfectly on the irregular and round surfaces of these forms. The use of tile, concrete and form suggest remains or parcels, and it is through this assemblage that the
artist sought to cross local narrative (the patterns for the tile came from Blankenbergue) and the Portuguese traditional artisanal relation with the making of tile (azulejo). Flanders is historically recognized for the quality of its ceramics and tile work. Since the XVII century, the region had a tremendous influence in Portuguese ceramic work, from which pattern-design and techniques were imported, greatly enriching the tile making process that has become a main feature of numerous Portuguese monuments. In the past century, the ongoing an increasing degradation,destruction and exclusion of the decorative element in architectural use has become readily apparent. Along with the exclusion of traditional decorative elements, the past century has also seen an increase in the usage of concrete and stamped concrete on the façades of most public and private housing buildings. “Kneaded Memory” looks into this particular relation between past and present use of theornamental in order to address notions of time, remembrance and oblivion.
Na instalação Kneaded Memory, a artista portuguesa Dalila Gonçalves dispõe numa Praça de Blankenbergue, objectos que se assemelham a pedras, a destroços de cimento com formas e tamanhos distintos. Partes das superfícies irregulares e arredondadas foram revestidas com azulejos moldados a essas reentrâncias. É nesta conjugação entre a forma, os azulejos e o cimento que se cruzam histórias da cidade Belga (de onde foram retirados os motivos dos azulejos) e da tradição portuguesa da azulejaria. A região da Flandres é conhecida, entre ontras coisas, pela sua faiança e pelo seu azulejo, de resto, foi desta região que no século XVII Portugal importou muitos dos motivos e técnicas de fazer azulejo ainda hoje presentes em muitos edifícios e monumentos Portugueses.
Num fenómeno comum tem-se assistido nas ultimas décadas à degradação, à destruição e à caída em desuso destes elementos decorativos. O cimento e o betão são cada vez mais as cores das nossas fachadas.
Kneaded Memory é uma reflexão sobre as fronteiras entre o presente e o passado, entre a memória, a recordação e o esquecimento.
Wooden. Rugs. Rolls those two words around in your mind hole for a minute or two. German artist Elisa Strozyk has created three variations of these delightful coverings. Strozyk dyes and connects row upon row of triangular pieces as she pulls together the end result of a colored wooden rug, which is so flexible that you can literally crumple it up and toss it into a corner. (via Design Milk)
Louis Wain’s cats as he progressed into schizophrenia.
Louis Wain could have seriously been a Batman villain. A successful English artist he began to paint exclusively cats after extensively painting his dying wife’s cat. He then made a living on children’s books and illustrations of anthropomorphic cats often parodying everyday life. After about 30 years he began to suffer from schizophrenia, theorized to be precipitated by toxoplasmosis, a parasitic infection that can be contracted from cats. After he became too paranoid and violent for his sisters to care for, he was institutionalized at the relatively pleasant Napsbury Hospital , with a garden and colony of cats. Over the next 15 years, he continued to paint cats in increasingly psychedelic depictions.