Rocking Slider (2024)
by Micropolitan Studio
by Micropolitan Studio
Artist Statement:
‘Rocking Slider’ is part of the “Playgrounds and Fear” series, a multiphase art and design research project that playfully combines and rethinks core elements of the playground to examine how this small-scale public space embodies complex socioeconomic and psychological narratives about the body. This object reimagines ubiquitous playground equipment through the lenses of fear and design to provoke memories of play.
Edition of 25. Printed on Hahnemuhle 300gsm Off White, paper size 19 x 15inches, plate size 8 x 10inches
‘Rocking Slider’ is part of the “Playgrounds and Fear” series, a multiphase art and design research project that playfully combines and rethinks core elements of the playground to examine how this small-scale public space embodies complex socioeconomic and psychological narratives about the body. This object reimagines ubiquitous playground equipment through the lenses of fear and design to provoke memories of play.
Edition of 25. Printed on Hahnemuhle 300gsm Off White, paper size 19 x 15inches, plate size 8 x 10inches
Three Windows and a
Stool (2022)
by Junainah Ahmed
by Junainah Ahmed
Artist Statement:
This piece is an experimentation on the representation of layered depths through crosshatching. Through basic line work, simply rotated and scaled, three windows and one stool are rendered by the copper plate.
Edition of 20. Printed on BFK Rives 250gsm Off White, 9 x 9inches, (230 x 230mm)
This piece is an experimentation on the representation of layered depths through crosshatching. Through basic line work, simply rotated and scaled, three windows and one stool are rendered by the copper plate.
Edition of 20. Printed on BFK Rives 250gsm Off White, 9 x 9inches, (230 x 230mm)
Pabellón de Acuñación (2021)
by Augstina Labarca
by Augstina Labarca
Artist Statement:
Built between 1785 and 1805 as the colonial mint, La Moneda Palace became the seat of government of Chile in 1846. For security reasons, coins were produced in a building in the heart of the mint. The building, Pabellón de Acuñación, was in the center of a courtyard to protect the rest of the building from potential fires. The architect Joaquín Toesca used this position to put in place a mirror game with the building’s main façade. The mint operated inside La Moneda until 1930. Pabellón de Acuñación, represented in this work, was demolished in the mid-forties.
Edition of 20. Printed on Hahnemühle Copperplate 300gsm Warm White, 9 x 9inches, (230 x 230mm)
Built between 1785 and 1805 as the colonial mint, La Moneda Palace became the seat of government of Chile in 1846. For security reasons, coins were produced in a building in the heart of the mint. The building, Pabellón de Acuñación, was in the center of a courtyard to protect the rest of the building from potential fires. The architect Joaquín Toesca used this position to put in place a mirror game with the building’s main façade. The mint operated inside La Moneda until 1930. Pabellón de Acuñación, represented in this work, was demolished in the mid-forties.
Edition of 20. Printed on Hahnemühle Copperplate 300gsm Warm White, 9 x 9inches, (230 x 230mm)
Gund Hall Study (2022)
by Kevin Liu
by Kevin Liu
Artist Statement:
Completed in 50 years ago and opened in October of 1972, George Gund Hall remains as one of the few remaining and best examples of John Andrews’s approach to a late-modernist, technologically spirited approach to architecture. Commissioned in 1967 when John was just 34 years old, the completion of the building marked the zenith of his career, with his fortunes falling in the 70s due to a reversal of the conditions that propelled him to the heights of the profession only a short decade earlier.
Edition of 40. Printed on BFK Rives 250gsm Off White, 9 x 9inches, (230 x 230mm
Completed in 50 years ago and opened in October of 1972, George Gund Hall remains as one of the few remaining and best examples of John Andrews’s approach to a late-modernist, technologically spirited approach to architecture. Commissioned in 1967 when John was just 34 years old, the completion of the building marked the zenith of his career, with his fortunes falling in the 70s due to a reversal of the conditions that propelled him to the heights of the profession only a short decade earlier.
Edition of 40. Printed on BFK Rives 250gsm Off White, 9 x 9inches, (230 x 230mm
