Gioele Amaro
Gioele Amaro, born in 1986 in the Calabria region of Italy, has a story that’s as captivating as it is
Clara Schweers skillfully intertwines the digital with the tactile, pushing the boundaries of contemporary art and design. Her practice exists as a dialogue between the virtual and the tangible. This exploration began during her influential time at Design Academy Eindhoven. While there, she explored the capabilities and limitations of computer-generated forms. Her work transforms and reinterprets the movement of pre-modeled figures. It unveils new behavioral qualities that seem to emerge directly from their digital roots.
Within her work, Schweers harmoniously blends various mediums, including glass, ceramics, and the polished textures of digital renderings. Glass serves as a consistent element, guiding her exploration of fluidity and permanence. This material becomes a stage where fleeting shapes are captured as intricate bas-reliefs, with each artwork offering a unique interplay between distortion and definition. Her installations fuse time-honored techniques with contemporary visions.
Clara Schweers continues to break new ground in her practice, venturing into digital implementation. She takes prefabricated motions of virtual figures and reconfigures them, creating new, striking forms that defy our expectations of the human silhouette. These pieces, crafted in glass and paired with innovative materials like PLA, stand as testaments to the alliance between organic and synthetic. They are not merely objects but experiences that urge viewers to contemplate the digital traces imprinted on our physical reality.
Schweers constructs a vibrant landscape where viewers journey through a mosaic of digital dreams and glassy reflections. Her work seizes the core of our digital interaction, showcasing an endless dance between the physical and the virtual, the historical and the hypermodern, the concrete and the abstract.
Gioele Amaro, born in 1986 in the Calabria region of Italy, has a story that’s as captivating as it is
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