For his latest project, titled the Abyss Table, designer Christopher Duff of Duffy London constructs a detailed cross section of the sea bed from sheets of glass and wood. Inspired by mythology, he designed the piece of furniture to look like one belonging to an ancient deity, capable of pulling up chunks of the earth for his own decorative use. From above, the table resembles a topographical map laid flat, but when viewed from the side, it becomes a multilayered and multidimensional model of a three-dimensional mass forged over millennia.
The brilliance of the Abyss Table lies in part in the conflicting nature of its form and function. By its very definition, the table is not an abyss but the exact opposite: a protruding surface capable of supporting objects. Here, the liquid surface of the ocean is transmuted into an imperturbable solid, and fluid space becomes sturdy and unbroken.
On the website of Duffy London, the preliminary image of the table, which will be released this fall, is accompanied with a line from Friedrich Nietzche’s “Beyond Food and Evil:” “And when you gaze long into an abyss, the abyss also gazes into you.” This oft-quoted passage, almost always meant metaphorically, finds a very literal manifestation here. Contained in this table, the dark, unknowable emptiness that consumes the human mind moves poetically into the home, merging its mysteries with the normal routines of domesticity. Each image shown here is a digital model from which the actual table will be built. Take a look. (via Colossal)
For the artist Annette Thas, Barbie is a disturbingly bittersweet symbol of childhood nostalgia and longing; for installation piece “Wave I,” she uses between 3,000 and 5,000 barbie dolls to build a sculptural wave, re-appropriating the doll as a means of translating her earliest memories, scenes which now flood her after returning to Belgium to care for her ill sister. Her sister’s illness, she explains, was related to the childhood they shared, one that was marked in part by the death of her brother.
For the artist, the wave is meant to convey her own relationship to overwhelming memories; it is 4 meters wide and stands at 3 meters tall, forcing viewers to be encased completely within its depths. The piece seems to swell with cascading blond hair, forever caught at the terrifying moment before its breaking. Adding to its realism, Thas chose to exhibit it on the beach as part of 2014’s Sculpture by the Sea amidst the sounds and smells of real waves.
The barbies in the piece, wild hair tangled and stripped of their clothing, do indeed seem ominous, but they are also startlingly sympathetic. They are second-hand toys, once loved but eventually discarded. They have endured a sort of violence, having been scarred by knives and bite marks. Each one has a poignant narrative all her own; one doll simply bears the words “please love me” on her chest. The plastic toys, symbolic of the scores of children who once owned them, are somehow lonesome now, robbed of childhood’s affections. Their demanding presence is urgent and desperate, their blue eyed faces pressing us to remember both the magical and painful bits of our youths. (via Design Boom)
Mary O’Malley’sBottom Feeders is a series of oceanic ceramics that look as if they were discovered among sea wreckage. These “porcelain crustaceans” appear delicate and dangerous, as the aquatic life that crawls among the porcelain seems as if could consume and become the dish itself. Inspired by her home by the sea, O’Malley created this series with porcelain, red Iron oxide, 22 karat gold luster, and a cone 6 glaze that shes makes herself using a recipe called Alfred White. She enjoys creating work that juxtaposes seemingly disparate imagery or ideas, such as the series of urns she created that she intended to be humorous. Of this series, she says,
“What interested me with this series, is by applying the creatures to plates and bowls I was reminded of naturally occurring circumstances where nature takes over man made scenarios. Humans are constantly vying for power against the natural world but we can never quite seem to win. Once I started to create these pieces I then started to notice the same pattern going on in the world around me: moss growing on a concrete wall, barnacles growing on the side of a dock, tufts of grass poking up through cracks in the sidewalk, etc. Maybe I am interested in this series because it is a truer representation of the world we exist in.” (via)
Be sure to check out O’Malley’s Etsy shop, where you can purchase some of her work. She currently lives in New York.