My practise tries to challenge notions of preciousness and value, in particular, in the jewellery field but It could be extended to any other design field. We live surrounded by an overflowing man-made world of objects which pass fleetingly through our lives without being appreciated. At times, one of these mundane items awakes sympathy which seem to rely in apparently intangible qualities. With my work I try to replicate this kind of intangible gesture of the ordinary that can spark a lasting relationship into individuals.
In line with this pursuit, one of my main lines of enquiry is the transient state of materials in the belief that objects can ‘come to life’ through their process of change, evolution and interaction. Thus, the animation of objects has become the main focus of my practise in an attempt to awaken people’s empathy and attraction for our surroundings:
‘I believe it is wrong to deny vitality to nonhuman bodies, forces, and forms, and that a careful course of anthropomorphisation can help reveal that vitality’ (Bennett, 2010, p122)
This quest has led to the challenge of ‘when, how and where’ the material changes takes place in order to ‘manufacture’ movement and transition. The main tools for the design process are 3D digital technologies: 3D animation, 3D modelling and 3D printing. In particular, 3D animation provides the main tool for virtually creating and visualising movement in an effort to artificially capture the life in apparently dead matter.
Additionally, my practise relies in the simplicity of form and material combinations, so that the empathy that could be awaken in people would not be connected to material value in a traditional sense or heavily loaded craftsmanship, but in subtle mundane gestures.