The concept for this collaboration with Snarkitecture was to reveal aspects of the technical process used to create fine bone china. While Positive reflects the simple geometry of a cylindrical vase, Negative brings to life the mould that is used in the creation of the first piece. Normally unseen, the box-like volume is impressed with exactly one half of its companion Positive piece. Rendered in fine bone china instead of the plaster or plywood typically associated with a mould, Negative is also given a new function as an open vessel. Both Positive and Negative also play on the fragility and solidity of fine bone china. The edge of Positive’s cylindrical form appears as a thin surface, while inscribed into its surface is an unexpected interruption. A small volume is excavated from the side of the vessel, leaving an irregular textured surface that plays on the idea of a broken vase while contrasting with the smooth cylindrical surface of the piece.
While Positive reflects the simple geometry of a cylindrical vase, Negative brings to life the mould that is used in the creation of the first piece.
Snarkitecture is a New York-based collaborative practice established to investigate the boundaries between art and architecture. The name is drawn from Lewis Carroll’s The Hunting of The Snark, a poem describing the “impossible voyage of an improbable crew to find an inconceivable creature.” In its search for the unknown, Snarkitecture creates architectural-scale projects, installations, and objects.
Snarkitecture’s work focuses on the reinterpretation of everyday materials, structures and programs to new and imaginative effect. With a conceptual approach centered on the importance of experience, the studio creates unexpected and memorable moments that invite people to explore and engage with their surroundings. By transforming the familiar into the extraordinary, Snarkitecture makes architecture perform the unexpected.