Richard Elaver
Writing code to grow objects.
My work is inspired by forms in nature and developed through digital fabrication. It brings together my past professional experiences in jewelry-making and product- design, combining elements of handcraft, design, and architecture to create sculptural forms. Those forms are sometimes purely aesthetic, sometimes wearable, and sometimes functional.
The Wripple series, in particular, is an investigation into surface and structure, randomness supported by logic. The outward surface ripples like water, composed of a collection of unique shapes that resemble tissue cells, all supported by analytical armatures made from straight lines and acute angles. The materials and construction suggest architectural models, just as the cellular pattern and wavy surface hint at the natural world. It is really the pairing of those two worlds that keeps things interesting, vascilating between rational and irrational.
Similarly, the vase series, ‘Dissolving Tiffany’, is also a mixing of two worlds: one historical and handmade, the other contemporary and digitally assisted. Beginning with the forms of handmade historical Tiffany vases, those forms are deconstructed into cellular patterns using generative software. The final objects are created with a combination of handcraft and digital fabrication techniques. The exterior form adheres to history, supported by a random angular composition of hollow cells.
My work is inspired by forms in nature and developed through digital fabrication. It brings together my past professional experiences in jewelry-making and product- design, combining elements of handcraft, design, and architecture to create sculptural forms. Those forms are sometimes purely aesthetic, sometimes wearable, and sometimes functional.
The Wripple series, in particular, is an investigation into surface and structure, randomness supported by logic. The outward surface ripples like water, composed of a collection of unique shapes that resemble tissue cells, all supported by analytical armatures made from straight lines and acute angles. The materials and construction suggest architectural models, just as the cellular pattern and wavy surface hint at the natural world. It is really the pairing of those two worlds that keeps things interesting, vascilating between rational and irrational.
Similarly, the vase series, ‘Dissolving Tiffany’, is also a mixing of two worlds: one historical and handmade, the other contemporary and digitally assisted. Beginning with the forms of handmade historical Tiffany vases, those forms are deconstructed into cellular patterns using generative software. The final objects are created with a combination of handcraft and digital fabrication techniques. The exterior form adheres to history, supported by a random angular composition of hollow cells.
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