ABOUT THE ARTIST - MARISA MUSING
Marisa Musing is a Canadian designer, artist and architect, currently studying for her Masters of Architecture at the Royal College of Art (London, UK).
In 2018, Marisa started a design collaboration with Alvaro Gomez-Selles (müsing–sellés) where they started their first furniture collection, SET NO 5, presented for Sight Unseen OFFSITE NYCxDesign, and have since presented other work for Salone Satellite Milano, Nomad Circle Venice, Collectible Fair, Paris Design Week and A/D/O. As a collaborative, their work focuses on the tangible relationship between form and function in objects, playing with unique material finishes and simplified forms to portray furniture as more personal, design objects that give a character to any space.
Marisa is particularly interested in the relationship between body and form, and is interested in finding playful ways to emulate huggable, soft bodies in the objects we cherish.
ABOUT THE ART WORK
“Flowers are always in a precious moment of change and fleeting beauty. Both of these projects created ways to enhance and extend the beauty of the flower through different mediums. I believe this has a strange resonance for today, where we want to cherish the moments of wonder that often do not remain.”
—— Marisa Musing
What is the story behind the artwork?
I have always loved picking flowers and documenting, saving and pressing them in diaries, journals and old dictionaries. I find it sort of serendipitous when I am able to unearth a delicately preserved flower from a previous timeline by flipping through old pages. The two artworks selected are different versions of these preservations of time and nature. The flower plates create a solidified version of the delicate objects that look as if they move freely through a viscous liquid. They embody the moment of infinitesimal duration from when the flowers were picked, and enhance their existence through a solidified sculpture. The digital version of the flower is an almost opposite approach, where the endless direction and modelling of the digital object created a small and nuanced moment for spontaneous digital consumption.
What was the context the artwork was created in?
Both pieces were made in the summer, three years apart. The resin plates I created one summer from an interest in resin casting and after spending most of my time outdoors in rural Ontario while I was in my final year of my Bachelors. The digital rendition of the flower I made earlier this year, after deferring from my final year of my Masters in London, UK and ending up back in Canada, quarantined indoors because of the pandemic. It’s curious that natural imagery were fixations at both these precipice times of my life, where there was change and adaptation hindering nearby. Flowers are always in a precious moment of change and fleeting beauty. Both of these projects created ways to enhance and extend the beauty of the flower through different mediums. I believe this has a strange resonance for today, where we want to cherish the moments of wonder that often do not remain.
What is a curiosity that you ponder and how do you explore it in your practice?
I am always curious to explore new mediums and ways of executing projects through various forms of seeing. I have a huge love for both sculptural, physical artwork and digital, visual media, I think they each have unique and characteristic effects that can completely change and radicalise how you understand an object or space. I also love exploring nuance in work, I find detail driven creativity is how I often define my practice. I am constantly seeking to create intricate, delicate moments through objects and digital media, to a point of subtlety that perhaps only I appreciate it. Creating through a lens of minute awareness allows for these small peculiar moments to thrive in a work. Currently I am fixated on the human body, and its wrinkles and folds. I want to find more ways of playing with these gestures through sculpture, furniture and digital rendering.