Noelle Rigaudie 46 Floraison
What was your thought process for the I discovered that I could transform this rough brand? material into a refined and beautiful object. I My story is a long story and I think all also loved the fact that cardboard is a artists have a different beginning. First, I sustainable material. It was quite exciting must say that the title of artist is not totally because straight away I thought I could create a title with which I identify. I would anything - chairs, a fireplace, columns, tables. describe myself more as a cardboard I could explore the forms of different designer. I was born in France, where our historical periods, especially the 16th century heritage and culture is very deep rooted – a and the Renaissance. Gradually, I worked my culture of kings and decorative arts. way through various styles towards something more contemporary. 16 years ago, I came to Australia with my family, initially for a short period but finally Why cardboard? we stayed so long that we became Australian For two reasons, the first because it’s a citizens. So, a French artist friend showed sustainable material, natural, delicate, easy me how to create a simple cardboard frame to source and strong. I can use waste from a pizza box, and I can say this was cardboard, and it’s biodegradable, so it revelation to me. I started to make antique aligns with my environmental consciousness. frames by bending, curving, and taming the The second is that it is so easily cardboard. transformed. Studio Piet Boon 47 Floraison Magazine
Cardboard allowed me to bring alive in Sydney What conversations do you believe brands need to be objects that were part of my culture, into the hearts having about sustainability? of Sydneysiders from the other side of the world. What could be more magical and fascinating than to We live in a time where it is clear that living and turn simple cardboard sheets into a ‘’desired working sustainably is crucial. We are more conscious treasure.’’ Cardboard being resistant, yet light, of the environment and our health, and people are flexible and easy to handle allows this. more open to understanding and our impact on the future. If the majority of companies could establish a What inspires you to create new pieces? workable concept of sustainability, like an individual decision, progress will be quicker. For us it can I think this is a hard question to answer because sometimes be a real challenge to use a material that there are so many different inspirations and requires patience and more ingenuity to work with experiences that an artist draws from in order to and it’s important that people appreciate its value. achieve what we call art. What is next on your journey? Personally, I have been inspired by several historical periods of our long and fascinating French History. My latest work was a collaboration with Heidi At the beginning, inspiration came from the Melamed, which involved combining two very Baroque Style which is very heavy, intense, and different materials and approaches. I’m looking exuberant, not to mention all the Louis’- Louis XIV , forward to further collaborations with other artists Louis XV, Louis XVI - with their different tastes and designers in the future and styles. I am now represented by Sally Dan- Cuthbert Gallery, and I am so grateful that Sally recognised the value and originality of my work. Do you think more galleries are open to sustainable design? Yes, definitely, many galleries prefer that artists use non-toxic materials. And they are also happily surprised by the results. They are more mindful of the impact of synthetic materials now. Studio Piet Boon 48 Floraison Magazine
Casa Modesta 49 www.casamodesta.pt Floraison
Casa Modesta Portuguese finesse intertwines with modern aesthetic. Dip your feet in the sapphire waters of The Algarve and immerse yourself in post-modernism at its finest The Algarve experience has been a sure favourite for travellers for many years. Not only does it conjure up an idyllic holiday destination but Portugal is now implementing new methods of energy such as solar power which was set to begin in 2020. Casa Modesta offers a taste of simple Portugal, with an aesthetic that allows an immersive experience. From harvesting fruits, to gathering clams, the fundamental culture is rich here, and is ready to experience in abundance. Floraison Magazine 50
Geometric principles have been incorporated into design for hundreds of years. It helps us define shape, style and form. A collection of shapes to create a unique design Floraison Magazine 51
Delving into the mind of artist, Andreas Senoner An artist with finesse, culture and constantly beguiling us with his craft, Andreas Senoner is an Italian artist who carves not only emotion into each piece, but a semblance of palpable realism. \"In 2006 he was granted a scholarship for Minneapolis College of Art and Design (Minneapolis, USA) where he attended sculpture classes from artist Kinji Akagawa\". His artistic prowess has further crafted three impeccable series of work, among others, which seamlessly merge biology and neurology with art. So, we want to take you on a journey through Andreas' eyes, to see the metamorphosis of his work come to life. Floraison 52
1. What is the importance of visual art in our world? 51 Contemporary art is a tool to induce reflection on our state of being, a filter through which to see reality differently. In order to express himself in this context, the contemporary artist has languages and working processes at his disposal that were not thinkable until a few years ago, that speak the language of the new generations much more effectively than traditional approaches. In my opinion, the task of the contemporary artist is to rethink and reinterpret the modern world through his research, and instead of mechanically repeating things that have already been done, commit to propose new points of view using methods, materials, and aesthetics linked to the present and future. The more he can convey an alternative perception of reality, the more effective his work will be. For the narration of today's society, sculpture and installation are more suitable than other forms of expression, and this is due to their peculiar properties, like the physical presence in space and the immediacy. The artist, by using multiform approaches linked to the three dimensions, can deal very effectively with very topical issues such as the environment, identity, or memory. 2. Where does your thought process begin for creating your art? I focus my artistic research on a series of main themes, including metamorphosis, heritage, and stratification, on a symbolic and material level. With my sculpture, I delve into the relationships that connect the individual, the mutable context in which he resides, and the elements that contribute to that transformation. Floraison Magazine
www.andreassenoner.com I select and use specific materials, mostly from animal and plant sources - including wood, feathers, Floraison Magazine lichens, fabric, beeswax - always keeping in mind their history and process of creation and evolution, while valuing those factors. The preferred medium is wood, an essential natural element, a collector of memories, a material that allows us to read traces of time - before, during, and after the artistic process. Resuming the working methods of traditional sculpture in a contemporary perspective, based on the message I need to convey, searching a language strictly connected to the concrete nature of the chosen materials and topics narrated. I try to establish a dialogue and induce parallelism with the memories of the viewer. 3. Does every piece of art have a story? If so, can you tell us one particular story? Each work must be seen in the context of my research, which is based on recurring language and materials. I often use wood for its features, and I choose logs that contain interesting stories, which I can use to reinforce the themes I deal with. The work \"Nature doesn't care\" for instance, was made with a walnut tree, which was flooded by the Florence flood of 1966, which caused enormous damage to the city. Traces of this event are present in the wood fiber, where sand residues can still be found. Besides, the trunk was later devoured by parasites. These characteristics make it unique and give the work additional meanings in line with the message it wishes to convey. 52
Thank you for reading our issue. We hope to see you for issue 4. fFLORAISON MAGAZINE ISSUE 3
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