Practical/Exhibited Works

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List all of your projects here.

Please provide:

a title

an image

a short description of the project




-Lizet

-For Fantastic forgeries-

My starting point was to figure out what I miss in textile. When I went to Première Vision, a textile event I realized that al the textiles have different colours, prints and materials but we don’t have a extra layer, a 3th dimension in fabric. In my work I make that extra dimension. It’s an added value in textile, the fabric will have movement, volume and every time a different shadow.

For “Fantastic forgeries” I created a new woven technique with fabric. We choose an artwork from a exposition to copy this object in your own technique. I use the carpet of Albert Van huffel. The focus was to find a way that I can fold different layers of fabric into each other and that it would stay in the position without sewing. IMG 0038.jpg


- for felt it -

My starting point was to figure out what I miss in textile. When I went to Première Vision, a textile event I realized that al the textiles have different colours, prints and materials but we don’t have a extra layer, a 3th dimension in fabric. In my work I make that extra dimension. It’s an added value in textile, the fabric will have movement, volume and every time a different shadow.

For “Tools of the trade” I created a tool that is a heat press itself. With this tool you can press 3 dimension prints in textile. “Tools of the trade” is a starting point for my graduation collection. My final collection is going to be based on the concept of our rich fantasy memories and positive escapism. The stories that we believed as children and fantasy stories that we created in our head are the biggest inspiration.

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R's re-phrasing: There is something missing in contemporary textile design. Even though it is possible to play with colours, patterns, prints and a wide range of materials they miss an extra dimension. These projects are about finding new ways of playing with movement, volume and ever changing light by making 3d textured surfaces.

Inspired by a carpet by Albert Van Huffel, a way of making fabrics that uses different layers of fabric folded into each other, to assemble textiles without a sewing machine.

Using a self made heat press to turn flat felt into textured textiles. The heat press creates shapes remniscent of rolling hills and strange far-away lands. Remembering childhood stories and dreamy memories, as the starting point for a graduation collection.



Dionne Wolff

Tangible computer interface

ToT Dionne Wolff.JPG

How can the design of a tangible computer interface help to create an innovative hands on approach for textile print designers?

What inspired me for this project was, the way I make use of my laptop to create digital prints. This is mainly trough a mouse or trackpad, which adjusts the prints in an unnatural way. I wondered what would happen, if somehow the print could really sense touch. And how this print would respond to this. This tool-kit stimulates the relation between the maker and the digital process. It is made out of polyurethane flexible foam and is attractive to touch and play with. Sensors are build in for communication with the digital print. Functions of different hand gestures would be: flex, push, pinch, stroke, pull and so on. This way making a digital print becomes more exciting, more personal and more unique for each designer.


R's re-phrasing: The click of mouse, the tap of keyboard or the stroke of the track pad are the only ways one interacts with software when designing digital prints. What would happen if during the making process the print could sense it's makers touch? How would it react when pinched, stroked or pushed? And what designs does one make when one doesn't tap, but pull. Or flex rather than click? A toolkit to stimulate a different interaction between the maker and the digital work flow.


Jermaine van der Kolk

Museum of Reproduction

In the Museum of Reproduction you will be invited to view the process of a real-life object transformed to a digital model.
You will be able to view the different aspects of its craft and how the final sculpture came to be.

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R's re-phrasing: In the Museum of Reproduction you are invited to see the transformation of a real-life object into a digital model. See the work in its wire-frame scaffolds, be amazed by the spectacle of specular maps and let yourself be filled with awe by the bigger-than-life pièce de résistance in the central hall of the museum. Admissions are free for adults and children alike.


Lucas Hartman

Forge Glitch

MandalaGlitch.png

With the use of mathematical precision, Digital Art is often about perfection. Crafting with the imperfection of the digital tools, can produce a strange and disorganize results. This piece not about making a statement. ​Reorganizes the elements, helps the viewer to see object in a different way.

R's re-phrasing: By recreating highly detailed and life-like scenarios, digital art is often about perfection. It is however more interesting to exploit the imperfections within the tools, as they can produce strange and unpredictable results.


Reverse Reality Shock Treatment

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Reverse Reality Shock’: Its the process of re-adjusting, re-assimilating and re-acculturating to the real world. ​ Meant for people that have became custom to the virtual world. The installation is developed meant as a therapeutic treatment tool for Reverse Reality Shock.​

R's re-phrasing: Reverse Reality Shock’ is the process of re-adjusting, re-assimilating and re-acclimatizing to the real world. ​ It is one of the symptoms commonly occurring after having become overly immersed in virtual reality. The syndrome can take such severe forms that re-adjustment is no longer possible. On view is a trial version of the only therapeutically treatment known at present.




Michelle


Tools of the trade


We're all mad here

My approach on fashion often starts by experimenting with materials.

I like to search for the boundaries of these materials, what are they meant for, what are they made of and what’s the story behind the material?

The craft that I explored for this project is the technique of felt hat making. This technique allows you to shape felt with the use of hot steam.

With this technique came a story of 'the mad hatters disease' which I tried to portray in 3Dimensional prints.


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R's re-phrasing: Shivering hands, long nights without sleep, hallucinations and a slow descent into dementia are but a few of the symptoms that mysteriously struck 19th century craftsmen in the hat making industry. Known as the 'mad hatters disease' by contemporaries and now known to be symptoms of mercury poisoning. It turned out to be the tool of their trade that was slowly turning these men and women insane. The project combines the bespoke material, the technique of hot pressing to tell their story.





ROBIN

'Eten doe je met je handen'

You there, Could you picture the fork you ate with? I guess a small piece of metal with four iron teeth on top. But what about the small detailes which makes every fork unique? It has become so normal that it's not worthy to remember.

Stripping daily proceedings to their essence and build up again, to create a new level of wonder in something what already exists. And open up different ways of seeing and experiencing.

Etendoeje.jpg


'What about your senses'

How many things have you seen, felt or heard before you came here? And at how many did you really paid attention to? This project is about taking a moment for your senses and give them the opportunity to reset. To create awareness for the shitload of 'prikkels' we perceive every day.

Finalthree.jpg

R's re-phrasing: You there! Can you picture the last fork you ate with? I'd guess a small piece of metal with four iron teeth on top. But what about the small details that make every fork unique? An object so common it is not worthwhile to remember. Stripping daily proceedings to their bare essence and rebuilding them again in order to spark curiosity, wonderment and new interpretations about things you thought you knew.

R's re-phrasing: How many things have you seen, felt or heard before you came here? And how many things did you actually pay some attention to? This project is about taking a moment for your senses and give them the opportunity to reset. To create awareness of the shit loads of 'prikkels' [stimuli] that we experience every day.


CISKA

' The impermanence of value '

A recreation of the emergency money (notgeld) coins from the siege of Haarlem (1572).

They where made from recycled silver objects. They look like leftover material that has no value at all. They got its value by the image minted on it. The re use of existing materials where interesting for me.

I was searching for an opposite material that is impermanent and will not long be maintained. And came out with paper. I wanted to use the technique to make my own paper and experiment with it.

Over the years, confidence in the financial markets dropped sharply, and is still declining. The paper shows the impermanence of value. There are three different values.

Note: i couldn't came up with a short and arty text.

FF ciska S0014079.jpg Coin ciska.jpg


R's re-phrasing: Notgeld was used as a currency during the Siege of Haarlem in 1572. Because of the shortage of materials, these coins where made using resmelted silver objects. Eventhough it looks like a piece of left-over material without value, the value of the coin was derived from the image printed on the coin These coins have survived to this day. Contrasting this historic object is are a series of objects made from recycled paper. The base material originates from various documents used in contemporary finance.



Joeke van der Veen

Please Don’t Touch

This tool replicates the work process of Satoru Hoshino. His work process is all about his hands touching the clay.
The finger- and handprints visible in his work represent his dialogue with the material.
But when exhibited in a museum setting, the visitor is not allowed to touch the artefact and therefore does not experience this dialogue.
This tool makes this distance visible and allows the maker to edit the clay without having to touch it with their own hands.

Joeke forgeries01.jpg


Human as Resource

This setting represents an experimental factory where the human is seen as a resource that provides materials for production.
In this factory, hair fallen out of the follicle can be seen as a source of value and can be incorporated into design and production processes.
It shows how harvesting human materials can help us to reconsider our current industrial production system.


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Sanne



FABER


In my work I usually start with experimenting with materials and see if I can create a new textile or print. In this project I started creating new ways to recycle old clothing. I made textiles out of the fibers from different materials. By recycling/re-using old clothing you can create a new aesthetic in fashion. The look and feel of the textiles I made are something you would want to touch & wear and will give an unique look. Because every piece will be different, depending on what fibers are used and what colors, the possibilities are endless.

Denimmade.JPG


R's re-phrasing: The basis of this work is material experimentation and a desire to recycle old materials. The textiles are made from fibers of different materials. Since the final look of the garment is highly dependent on the source materials, using this technique also leads to new aesthetics and possibilities for production. Garments which were discarded become garments that yearn to be touched.


Tim

Alternative reality creation machine

This tool generates alternative realities, by changing the fundamental particles of the universe.
The object that is carved out from the machine is based on the movement, position and size of the particles, which I can give my own defined characteristics.
It represents how a natural object from a parallel universe with the defined particles might look like.


Timexpo.JPG


R's re-phrasing: The multi-verse theory stipulates that any number of alternate realities is likely. The ** on display is an early stage particle decelerator. The device simulates and tweaks inter-gravitational pulls and complex multi-body interactions on the screen. This leads to a reconfiguration of the individual atoms on the carving surface and it creates objects which reflect the parallel universes that are simulated on the screen.



- Donald (third year, Teacher training in arts and design (DBKV)) -

Study-scape, Edited photo, 2016

- Real Virtuality -


Four pairs (2016), Studyscape (2015) and Rendered (2016)


Short text:

Digital devices and interfaces are seen as portals into the digital realm. However, devices are also just objects among objects. This is visualized in the studyscape, where laptops and smartphones become integrated into a landscape of stuff, coffee cups and study books. The way the objects are aestheticized plays on the visual language of 3D modeling software like Maya 2016.


Large text:

These three works all question what our digital devices are as objects rather than as interfaces or tools to enter some function. Representing at how our desks look like when studying is becomes apparent that the interfaces of the laptop and smartphone become integrated into a wider ‘landscape’ of stuff. Covered by notebooks and surrounded by coffee cups. By aestheticizing the devices it becomes apparent they are objects among objects.


The method of aestheticizing is one of trying to make all objects appear equal or related by changing their skin. The grey colors are standard shaders in 3D rendering software like Maya 2016. The look and feel of 3D modeling software is now used to underline the fact that real objects are represented digitally. In other words: they are visibly fakes. The second step was to reverse the process: so that the look and feel of the grey models was recreated with real objects. This resulted in a series of photographs that suggest they are rendered.