Clemens Winkler / Experiencing Matter

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Imaginary Fabrication Charlotte Tobey - Schau mal
Imaginary Fabrication
Imaginary Fabrication
Imaginary Fabrication
Imaginary Fabrication "Eindruck eindruecken", Luzia Rux
Imaginary Fabrication
Imaginary Fabrication
Imaginary Fabrication "Konservierung des Dynamischen", Benjamin Spiza
Imaginary Fabrication
Imaginary Fabrication "Salz", Tanja Simonovic
Imaginary Fabrication
Imaginary Fabrication
Imaginary Fabrication
Imaginary Fabrication

Imaginary Fabrication

Questioning the way we individually perceive and expect materials to be synthesized and used through ‘suitable’ tools and environments, this project proposes alternative ways to force unfolding new and unpredictable material properties and qualities through plausible fabrication technicques. Therefore, different possibilities in creative practice can be used, some example, challenging material stress level until the material deforms, burns, breaks, to consequently harden or glow. To analyse, investigate, transform and display it is useful not just to stay on the level of the visible for creative practices rather de- and accelerate different phenomenn and scaling them up and down.

What can we find out about the expression of a self-made media and its context? Is the material 1 million years old and was it part of a living organism? Through experimenting, situations arise, which juxtapose being controlled, digitally or analog, with immersive processes that are unsharp, unstable or transient.

Some example, foam expansion structures as an invasive medium. foams help to thermal insulate, storing moisture or stable, light-weight architecture in transportation designs, to create engines to fabricate. Crystals from a sodiumacetate which reacts on physical stress and inclusions through crystallising - would react on sensitive signals from their surrounding for example to allow blindfolding in discrete areas.

It is about using materials phenomenologically, looking on every day and trustworthy though looking closely rich potential in different areas, like dust, wax, bone, water, wood, concrete, plastics, electricity, light, silk, foam or smoke. The experiments should be presented in mini scenarios and in finding adequate representations, film, photo, drawings, objects, tools hold. Those experiments shall be presented as mini-scenarios, imaginary-environments and should force the in-house fablab alter ways to develop strategies to prototype ideas.

Creative approach: Embedding artefacts and letting ‘mistakes’ happen, like an imhogoneuous printed surface can be on the second look be a new filter for catalysis.. So constructing foreign terretories doesn´t mean thinking about fictions in a narrowed way, rather allowing them to happen in reality.


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