The term bi•zarre |biˈzär| means odd, eccentric and strikingly out of the ordinary. The bizzare is the construct of our creative, nonconformist right brain. It is absolutely absurd, crazy, nonsensical, preposterous. It is unreal. It is wild. It is fanciful. It is the bizzare that creates movements and sets trends. An example is The Dada (movement or more of a non-movement) that began in Zurich in reponse to the insane killings of World War I. The movement was spearheaded by people walking in the bizzare. Artists, poets, writers, intellectuals all concerted their efforts on anti-war politics by denouncing the prevailing standards in art through anti-art cultural works. Their purpose was to taunt what they considered to be the nonsensical nationalism, rationalism, materialism and any other -ism which they felt had contributed to a senseless war. An example of the outrageous Dada art is the painting of Mona Lisa with a mustache by Marcel Duchamp.
As crazy as it sounds, the movement chose the name “Dada” by inserting a slip of paper into a French dictionary. It so happened that the paper landed on the word dada, which happens to mean a hobbyhorse or child's toy. A bizarre idea to create non-art moved on to be a powerful influencer of avant-garde, downtown music, surrealism, Nouveau réalisme, pop art, Fluxus and punk rock.
We are in an age of bizarre mass media homogeneity. Very often, we are concerned about the market approval rather than our inner consent. As easy as it is to follow the trend and become a part of mediocre mainstream, it is crucial as designers and thought leaders to step out of the proven path of mediocrity and experience the backroads of bizarre....there is only one rule. Never follow any known rules. You will be amazed!
I owe this indulgence in the bizarre to a bizarre blog that I had come across a few days ago. It seems like the writer, if even for a moment happend to realize the illusive nature of our universe.
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"S' curve is the age old crux of creative expression.
I believe, the Ancient Greeks and the Romans brought into forefront the phenomenal "S" curve. It is related to and is an extension of the art term "contrapposto": when a figure is portrayed as slouching it shifts the center of gravity to one side. The body and posture is painted like a sinuous or serpentine "S". Richard Macdonald, the celebrated figurative artist is prolific with the "S" curves. He drives and rides on "S" curves. He is the inspiration behind this thought phenomena.
In the 20th century the S-Curve emerged as a mathematical model and was afterwards applied to a variety of fields including physics, biology and economics. It describes for example the development of the embryo, the diffusion of viruses, the utility gained by people as the number of consumption choices increases, and so forth.
"S" curves are used in abundance in trade show booth designs and in architectural spaces. In your next photo shoot use the imaginary "S" curve to compose a fluid story line.
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The light of our lives comes from the sun and other stars: a form of electric and magnetic energy. Photons of light travel through space behaving both like particles and waves. We see forms once light reflects off the object. Hence, light is the grand master of form and texture.
It is by mastering this light we give birth to the essence of an object. The basic qualities of reflection or absorption of light are the elements to consider when designing any kind of handiwork. A glass will reveal its color when light passes through it. However when a glass is engraved or etched, light is trapped inside it. A silver object, when polished, reflects light and when hammered, will absorb light giving a completely different look and feel. A polished material has completely different and sometimes opposite connotations from a matte surface, a wide spectrum ranging from opulence to quiet elegance.
Texture has boundless range of tactile and visual experiences. It is essential for us to understand their marriage with light in order to express and master the milieu. It is the materials and their finishes that we explore in our projects brings forth the uniqueness of each environment and celebrates the individuality of each object. "Texture and color in a mutually supporting discourse defines any creative artifact – waiting to be decoded its inner secrets and thereby enrich our perception and transfer it to whatever we choose."
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In my writings I am often an explorer, a map maker, sometimes a voyager of the human mind and other times: a creator who is tormented by the inner longing to expand, express and delight !