The concrete works of David Umemoto stand as studies about volume. At the juncture of sculpture and architecture, these miniature pieces evoke temporary buildings or monuments standing on far-away lands. The images conveyed in the mind by these works are numerous. They refer to the archaic and the ephemeral, despite the solidity and the modernity of the medium. Appearing before our eyes are pre-Columbian rock dwellings, god statues from the Andes or Easter Island, steles deteriorated by rain, remnants of modern cities having survived a cataclysm, fragments of Babylonian cities, colonial settlements brought down to their foundations, cenotaphs abandoned in the jungle…
The production of David Umemoto’s works follows a process of slow and silent transformation. The creative process seeks to imitate the cycles of nature, which are cycles of erosion and re-creation. Lines shift, change and are in a state of perpetual mutation due to the influence of time and weather. The natural architectures of geological strata and crystals stand as models: They inspire the design of the moulds in which the concrete is cast. The ductile and infinitely adaptive nature of the material enables the production of objects that are both similar and different. The development of the works is thoughtful and iterative yet it makes room for improvisation, adaptation, and spontaneous inspiration. The shapes created by Umemoto line up in sequences of combinatorial variations. Each work offers a different face but these faces all belong to the same lineage. This kinship gives a strong unity to Umemoto’s production and allows for the exploration of the theme of transformation through time and tradition.
All of Umemoto’s pieces are handmade, in order to respect an economy of means. The pressure of modernity imposes on man the obligation to evolve constantly, which leads him into an endless race towards technological improvement. As an artist, Umemoto chooses to react by taking a step backwards. His manual activities result from a desire to simplify artistic practice. Aesthetics and formalism are thus combined with a commitment to plainness. Opting for a low-tech stance, the artist wants to resist the demands of progress. He creates structured and modular pieces but these never perfectly fit together, a result of their willingly imperfect mode of production.
Umemoto’s art is rooted in Americanness: His varied creations take their impetus from a desire to start settlements and to colonize wild lands, where nature is always on the verge of resuming its rights. When one sees Umemoto’s architecture sculptures, one thinks of the modernist complex of Brasilia by Niemeyer, lost in the Amazonian jungle, or of the complex of Chandigarh by Le Corbusier, in the heart of India. The walls rising towards nowhere, the curves running into ceilings, and the staircases leading into the void are reminiscent of the mysterious Prisons of Piranesi. One way or another, these are always works where imagination joins forces with a contemplative discipline.
I love slowlife and kinfolk a nomadic style, at the crossroads of bohemian, folk, industrial and ethnic tendencies that seduce a generation in search of sincerity.
Its codes: raw materials, craftsmanship and friendliness. A bohemian and multicultural spirit that advocates craftsmanship, know-how and handmade.
Our selection of January presents passionate artists and craftsmen who work the essence of the material and privilege a return to the sources.
Ole Wansher, Bocci, Miles et Claire, Atelier Vierkant, Clothilde Ancarani, Catherine François, Valesco Vitalli, Isabelle de Borgchrave, Johana, Vasconcellos, Kaspar Hamacher, Nathalie du Pasquier, Xavier Lenormand, Ado Chale, Ibal Studio, Le Corbusier, Caroline Notté
SAVE THE DATE « LE BOUDOIR DE MADAME » 12.12.2018
Caroline Notté présente dans son collectors cabinet une sélection pointue de sculptures, tableaux, céramiques, mobilier vintage, ….
Caroline Notté presents in her collectors cabinet a cutting-edge selection of painting, ceramics, sculpture, vintage furniture…
Armen Agop, Julian Arnaud, Les frères Bouroullec, Beth Carter, Paulo Climachauska, Isabelle de Borchgrave, Destroyers Builders, Tom Dixon, Jean François D’Or, Nathalie du Pasquier, Damien Gernay, Zaha Hadid, Xavier Le Normand, Arik Levy, Eric-Luc Maquet, Denis Meyers, Pol Quadens, Ettore Sottsass, Ibal Studio, Studio Dimore, Yves Ullens, David Umemoto, Patricia Urquiola, Muller Van Severen, Yoana Vasconcelos, Vhils, Velasco Vitali
Sculptures courtesy of LKFF gallery
Destroyers / Builders
Inspired by architectural shapes, the furniture pieces highlight the field between industry and human, through diverse materials. The interventions and finish by hand, give these objects a tactile aspect. The contrast in materials, the touchabilty, and the human traces that are still visible in the object, explain the method of Destroyers/Builders. Both contemporary and classical fragments are the base of the visual language. The Bolder Chair and Bolder Seat are inspired by columns, a diversity in white tones that can often be seen in old columns. Cross Vault is an ode to cross vaults, originally built up in brick. Archetype Daybed is inspired by old carving techniques.
Destroyers/Builders is a Brussels based design studio. With a focus on materiality the studio strives for sensory relevance and cultural value in detail and bigger scale. Their works have a sculptural and architectural character, but are always on the edge of contemporary material use and traditional crafts. The studio takes on projects that range from commissions to self-initiated projects, and extends across the realms of both product and interior design.
ARCHETYPE COFFEE TABLE
She was a founder member of Memphis for which she designed many textiles, carpets, furniture and objects. When the group broke up in 87, painting became her main activity.
Now she present vases and cups in an explosion of colors. All combined elements that form a set of combined cones and cylinders. The design process of the pieces started on paper; the concept was then transformed into wooden constructions and eventually finalised in ceramics, where it came out as geometric compositions of different elements and colours.
VASES BY NATHALIE DU PASQUIER
At the occasion of Brussels Design September the Studio of Caroline Notté will present the new creations of Belgian and international designers;
Jean François d’Or, David Umemoto, Michael Anastassiades, Gaetano Pesce, Marten Claesson, Erwan Bouroullec, Mathieu Lehanneur, Tom Dixon, Arik Levy, Inga Sempe, Mario Botta, Catherine François, Patricia Urquiola, Ronan Bouroullec, Ettore Sottsass, Ado Chale, Muller Van Severen, Isabelle de Borchgrave, Sammode Studio, Julian Arnaud, Pol Quadens …
This event has become the annual flagship event for design enthusiasts of and you are more than welcome to visit us every Thursday and Friday from 2 to 6pm.
See you soon
Ladakh, between earth and sky
On the roof of the world, in the heart of the Himalayas, Due to the altitude, Ladakh is a region you photography slowly….
With an artistic background and specialised in a major form of art – Architecture – CN then chose to enhance her CV as a complete all-round artist, training in Photography in New-York at the New York Institute of Photography.
Discover all the series of photos of Caroline
la danse des canards
CAROLINE NOTTE, SCULPTRICE D’ESPACES
Ouvrir la porte d’un intérieur réalisé par Caroline Notté, c’est entrer dans une atmosphère puissante et sensible où l’art de vivre prend tout son sens. Ponctuées de géométries variables et colorées, chaque pièce est imaginée comme un instantané qui incarne sa griffe percutante et inédite, sans faire l’impasse sur les vœux de ses occupants qu’elle écoute d’une oreille attentive. Elle s’écarte des « total look » trop faciles pour laisser la chance au mélange des styles et des époques qu’elle traverse avec aisance. Elle use des contrastes, réchauffe le froid, marie la modernité du verre aux pierres fléchies d’antan et manie l’éclectisme et le « mix-and-match » d’une main ferme et douce. Les volumes s’ouvrent, les formes s’amplifient, les lignes se délient, elle trouve toujours ce rythme juste avant de poser une touche d’audace en guise de point final !
Texte – Suzanne Wathelet