After the textile class, I researched about the artist that on the project brief.
That was "Reiko Sudo", Japanese textile designer. Nuno textiles was founded in 1984 and since 1987 Reiko Sudo, as Artistic Director, has steered Nuno to a position of pre-eminence in Japan and internationally.
With sustainability at the heart of Nuno’s production values Nuno uses traditional techniques and recycled materials, re-interpreted with cutting edge technology for contemporary life.
Reiko Sudo and her design team create some of the most innovative cloth being designed and produced in the world today.
2121 the textile vision of Reiko Sudo and Nuno
Interview with Reiko Sudo
KAUNAS BIENNIAL TEXTILE'11: REIKO SUDO and NUNO
Kaunas Biennial showcased textiles from Nuno, a remarkable Tokyo-based design and production studio led by artistic director and co-founder Reiko Sudo. Nuno (meaning "fabric" in Japanese) integrates traditional techniques and aesthetics with contemporary technologies and materials to create some of the most innovative weaving in the world. Imaginative vision is the key here: using everything from stainless steel and milk protein to bamboo and bird feathers, as well as unorthodox finishing methods like burning and chemical melting or appropriating the latest industrial processes while also fostering centuries-old craftsmanship, Nuno has broadened the horizons of what can we can imagine and can do in textiles.
Rowan Mersh is a multi-media sculptor who explores form through intuitive application of a material’s inherent qualities.
His diverse and experimental approach to creation is epitomised by his ability to take very ordinary materials and transform them into the extraordinary. From textile sculpture to kinetic and interactive installation, Mersh’s pieces are inventive and multipurpose, bridging the realms of art, design and fashion.
Regularly exhibiting internationally with Gallery FUMI, Mersh’s sculptures have been acquired by major private and public collections the world over, most notably the V&A, Jerwood and The Crafts Council collections. His commissions and special projects include works for the Mercury Music Prize, Fendi and Veuve Clicquot.
Mersh, a graduate of the Royal Collage of Art in 2005, continues to live and work in London.
UK-based textile sculptor Rowan Mersh first caught my eye with the astoundingly innovative dress created out of old WWF magazines, a piece that debuted at a World Wildlife Fund charity event in London earlier this year.
Placuna Phoenix, 2014
Genetic Structures, 2005
Fendi: fatto a mano for the future
At milan design week 2011, fendi presents the first italian exhibition of their project, 'fatto a mano for the future',
featuring the performances of london-based designer rowan mersh, italian artist nicola guerraz,
italian sculptor sandro del pistoia, and fendi artisan federica antonelli.
the live design series invites artists and designers to join a fendi craftsman in creating sculptural objects
using discarded materials from the fendi production process, as a conceptual illustration of the interactions
that take place between designers and artists, production and tradition, and creators and materials.
Interview with Rowan Mersh
LF: In five words or less: how would you describe your work and what you do?
RM: An exploration of material/form.
LF: How did your project with the World Wildlife Fund come about?
RM: I have worked with Artwise Curators (a London based contemporary art curator and consultancy agency), since 2006. They approached me last year regarding producing a sculpture for WWF.
LF: Why old WWF magazines?
RM: I was asked to consider world issues such sustainability and conservation as the inspiration for this project. My intention was to some how connect these issues with in the sculpture; The recycling/reusing of WWF literature is a reference to sustainability, and the fragility of the material itself (paper), to conservation.
LF: What are some of your creative inspirations?
RM: I have always drawn a great deal from artists such as Rebecca Horn and Olafur Eliasson who merge conceptual brilliance with visual beauty.
LF: What is your favorite medium to use when creating?
RM: No favorites! I work with any material that interests me.
LF: What is the most abstract piece of work you have done?
RM: I created a performance piece for Fendi last year called Future By Artisan. The project was intended to challenged the tradition role of the Artisan with in the future of design. I built a machine that generated a sculpture directly from my heart rate. It was an incredible beautiful piece but did miss the mark with a few people!
LF: I know you have used your CD and vinyl collection as inspiration in Series 1. What are your most prized albums you own?
RM: The list is endless! Though my collection is digital now so there?s no chance of losing any more of it to my work!
LF: What some future projects that are you working on that we should be getting excited about?
RM: I have a few projects currently showing with Gallery Fumi (Porto Cervo, Sardinia), that will run until the end of the summer. My next big project is for Pavilion of Art and Design London (PAD), in October.
LF: How fast do you live?
RM: Pretty fast, when nobody is watching!