Im-Perfect Vol.01

Craft Project / Ian Jia, Jan. – Mar. 2023

WHY THIS NAME?

I named the project “IM-PERFECT” with the intention of emphasizing the importance of embracing imperfections. While the term “imperfect” carries a negative connotation, breaking it down reveals the phrase “I’m perfect.” This concept signifies that both inanimate objects and human beings possess a distinctive form of perfection within their imperfections. By accepting and acknowledging our own imperfections, we can strive towards a greater sense of personal perfection.

The reason I used this graffiti style font rather than a regular font was also to match the unique and natural features and textures of the object itself. No object is born neat and orderly, and perhaps the same can be said for type.

STYLE ANALYSIS : WABI - SABI

Wabi-Sabi is arguably one of the most renowned styles that embodies imperfect elements, creating elements that closely align with nature. This aspect has been a significant source of inspiration for me. It avoids intricate shapes or patterns and instead relies on simple materials and surface textures that bear the marks of time to evoke emotions. While kintsugi may incorporate more patterns, its craftsmanship infuses them with a distinct sense of randomness and naturalness. This utilization of natural materials and embracing of randomness has also profoundly influenced my subsequent work.

"NATURAL MATERIAL & iRREGULARITY"

STYLE ANALYSIS : BRUTALISM

The Brutalist design style is mainly used in architecture and interior design, which coincides with the design scenario I am targeting. This approach, which plays on the raw side of materials, also makes me rethink the surface textures and other imperfections of the materials themselves. The regular geometric shapes can also be used to contrast the details of the material itself, which will be used in my future work.

Exterior with Brutalist Elements/Design by Amity Worrel. (All-American Style: Brutalist Interior Design. Available at: https://amityworrel.com/2022/01/11/brutalist-interior-design-style-elements-and-history/)

ARTIST RESEARCH : TAMSIN VAN ESSEN

While Tamsin van Essen’s work delves into the concept of imperfection through the portrayal of human diseases, some of her pieces employ figurative shapes that may carry excessive visual impact. Consequently, in terms of shape, her work might not seamlessly align with the context of home accessories. Nevertheless, I find inspiration in the dense and ever-evolving surface textures that characterize her creations. Notably, the pieces depicting erosion and syphilis in medical heirlooms exhibit captivating textures that are rich and dynamic in nature.

ARTIST RESEARCH : DENNY PRIYATNA

Denny Priyatna’s work, similar to Essen’s, is primarily focused on furniture and product design, aligning with the direction I aim to pursue. He excels at creating furniture pieces that enhance the interaction between users and the product, while still incorporating the theme of imperfection through the use of unconventional forms. However, the expressive nature of his designs, though intuitive, may come across as too ‘brutal’ for a home accessory.

ARTIST RESEARCH : MAARTEN BAAS

Both works exhibit a strong emphasis on aesthetics, with the Clay Chair employing minimalist shapes to convey a delicate sense of fragility. Wanders’ utilization of 3D scanning technology to capture and replicate slime particles’ forms inspired me to draw inspiration from real-life instances and reconsider the essential aspects to emphasize when incorporating imperfections found in living beings, shapes, or surface textures.

“CLAY CHAIR” – MAARTEN BAAS, irregularity, childishness, fragility, https://www.wright20.com/auctions/2019/01/art-design/100

EXHIBITION RESEARCH : MARIA BARTUSZOVÁ

Her technique of covering balloons with plaster and then piercing them intrigued me, prompting me to consider the incorporation of multiple techniques within a single material. Additionally, I was captivated by Maria Bartuszová’s emphasis on tactile sensation in her sculptures, going beyond the visual aspect. She skillfully explores the interaction of volumes among different objects to create a soft effect. This approach sparks my reflection on alternative methods of expressing imperfections, beyond solely relying on the innate flaws of the material itself.

EXHIBITION RESEARCH : MINT

About Mint

Founded in 1998 by Lina Kanafani, mint is a design gallery located in central London. The gallery is dedicated to showcasing sustainable and innovative objects and to reducing harmful waste in the design industry by promoting material conscious design.

INSPIRATION ?

Through my visit to mint, I gained a new understanding of trends in home accessories and was inspired by the shapes and materials of many of the pieces. I also realised that there is also a large market space between artistry and practicality, and that my work could be aimed at this.

METHODOLOGY RESEARCH : THE WORKMANSHIP OF RISK

DAVID PYE :

David Pye (1914-1993) was a renowned British craftsman, designer, and writer known for his influential book “The Nature and Art of Workmanship.” He emphasized the importance of craftsmanship and challenged the notion that quality is solely determined by the end result. His ideas have had a profound impact on design and craft, emphasizing the value of embracing imperfections and the skillful judgment of the maker throughout the entire production journey.

INFLUENCE ON PRACTICE

His work has a stunning surface texture, one that makes me think about whether I am going for this regular, machine-made texture in my work or a random, hand-carved texture. And if I were to add features to the product, would that conflict with the surface texture.

Workmanship using any kind of technique or apparatus, in which the quality of the result is not predetermined, but depends on the judgment, dexterity and care which the maker exercises as he works.

By introducing this concept, he highlight the uncertainties and challenges inherent in the creative process. This theory is also in line with my thinking when making my work, as it also encourages the imperfect elements created in crafting, which are made more unique because of them. And in making it, I am constantly thinking about this state of uncertainty and whether its variations can have limitations based on my preliminary research and the process of making it.

Lily-pad serving dish in french walnut treated with linseed oil, 1950s. © Crafts study centre / e. And j. Pye.

Dish in wild service wood treated with linseed oil, 1970s. © Crafts study centre / e. And j. Pye.

Box with spiral grooves in kingswood treated with linseed oil, 1970s. © Crafts study centre / e. And j. Pye.

Making Process 1

The materials used in both items are the same, elm wood and a mixture of resin, plaster and black sand. I drew inspiration from the symptoms of Parkinson’s disease, characterized by the trembling of limbs, and incorporated abstract curved shapes to convey this sensation of tremors.

Filling resin for making disease feature

Making Process 2

In the early stages of the second one, the elm broke during turning, so I borrowed Kintsugi’s repair method to fix it. Additionally, I explored the form of a tumor and experimented with its application to this second object.