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Square Spiral rug, 2021

Axminster yarn on hessian, felt backing, 120x135cm. £400. 



Poondland, 2021

Steel sharp grass of our current world and unknown foam objects as a gateway to somewhere else. Installation at Hundred Years Gallery. With Lewis Baxter



Round Squares rug, 2021

Made during a 3-weeks residency at Imperial Wharf with In A Space art charity. Axminster yarn on hessian, felt backing, 127x156cm. £400.



3P Table, 2021

Inspired by the simplicity of Jasper Morrison's  'Ply Chair' and Sam Chermayeff's ambience in 'Creature', a world populated by piles of books on floors, 3P (three parts) Table is minimal in its built yet playful and sculptural in its shape, colors and use (a reference to The Pillow Sofa by Muller Van Severen). The three parts fit together to create four distincts compartments at its base, four sanctuaries for emptiness or cherished objects - a stack of books, a flower in a vase, a celebration of colors and materials crossing paths (the table, the floor).



Politics!, 2021

Two felt banners big and bright hanging from Tower Bridge. Surely there are statements being made. With Lewis Baxter.



Pimped Hydrangea, 2021



Fluid realities - the cinema of Salome Lamas, 2021

Poster for the ICA.



Capsule, 2021

Capsule is a piece about visual pleasure and experience. A large, transparent sheet of acrylic is bent, held by three rough tree stumps. Underneath lays a blue yoga mat. Viewers are invited to lie down while others grab the sponge and draw on the transparent sheet with the chalk and water mixture. Light and ephemeral, the gentle process is somewhat fulfilling, offering a simple yet satisfying result. A simple pleasure.



A rug for Sophie, 2021



Playground Workshop with the Spaghetti Club, 2021

Looking at Constant 'New Babylon' project of an utopian city as a gigantic playground, I asked the members of the Spag club to create a collage of the greatest playground they could think of and possibly live in, on a 70x240cm sheet of paper, which was then tufted as a rug. To get into the mood, the kids started the workshop by completing a booklet with thought-provoking questions around playgrounds. The booklet was made in collaboration with Michael Crowe, artist and founder of Spaghetti Club.



Costumes Workshop, 2021

Merging multiple inspirations, this workshop delivered at Share charity over several sessions was about creating Oskar Schlemmer's like costumes in a surrealist way, using the Exquiste Corpse drawing game technique to unleash the weirdest looks.The final works were shown at Share Summer exhibition 'No Limitations' as part of Wandsworth Arts Fringe Festival 2021.



One Minute Audience, 2021

An ongoing series of performance about the act of looking as an audience. What happens when we look at art, or non-art? In public spaces? Follow @oneminuteaudience and get in touch to take part as audience or to submit your work. We'd love to come n look at it.



Pimped Reflexed Rose, 2021



Elmer backdrop, 2021

Get in touch to use.



Share City Map Workshop, 2021

Inspired by the Situationist International movement and the subjective maps they were creating, I worked with the students of Share charity on a map project, regrouping the places that matters to them. A unique 'Share City' emerged. The workshop was conducted over 3 sessions: thinking and sharing about their chosen places before drawing them out, arranging and connecting them together to form the map, and adding on their own words. The final work was shown at Share Summer exhibition 'No Limitations' as part of Wandsworth Arts Fringe Festival 2021.



Elmer rug, 2021

Tuft axminster wool on hessian and cotton backing, 130x60cm.



The Goal Of The Future Is Full Unemployment So We Can Play, 2021

A rug has to be one of the humblest form an artwork can take, as it is meant to lay on the floor and be stepped upon, yet its practical function of bringing warmth and comfort is of utmost importance. It also offers a unique and seamless space in the home for powerful statements, be it in colours or in words. Quoting Arthur C. Clark, this piece aims to act as a reminder to reconsider our current system. Tuft Axminster yarn on hessian and felt backing, 240 x140 cm. 



Trees In Autumn And Winter In London (When They Don't Have Leaves On And You Can See Their Weird Trunks And Branches, Sometimes They're Also Weirdly Cut), 2021

A small publication of photographs. A5, 24pp



PLAY Banner, 2020

The PLAY banners are a celebration of playfulness in our lives. Inspired by the work of historian Johan Huizinga, ‘Homo Ludens, a study of the play element in culture’, our banners aim to float as a statement and a reminder of the important value of playing. ‘Here, then, we have the first main characteristic of play: that it is free, is in fact freedom.’ – Huizinga. Digital embroidery on naturally hand dyed linen with onion skins, 4 metal grommets, 50x75cm. ilco



On Wheels 2, 2020

Mdf, wheels, acrylic paint and varnish, 154x100x30cm. Made in collaboration with Atelier Gilbert’s for the Centre Pompidou shop.

 


Garden, 2020

Garden is a textile piece, a patchwork of natural dyes. Curious to experiment with natural dyeing process and ingredients, our first prototype involves cochineal, indigo, turmeric, red cabbage, madder and onions – everything you could find in your garden. The way we planned and assembled those many shades together made us feel like we were gardeners. Hanging vertically in front of a window, Garden becomes a light and sheer curtain floating gracefully, while providing you with delicate and colourful intimacy.

100% Cotton Organdy, dyed with plants and vegetable, using alum acetate as a mordant. 150 x 260cm or bespoke dimensions. ilco

 


Miniature Into-Form, 2020

Soft sculpture composed of 5 pieces. Upholstered with velvet or wool, soft filling. Donut-10x30x30cm, Wave-10x50x20cm, Half-10x30x20cm, Pickle-10x14x42cm, Ball-10x10x10cm. Made in collaboration with upholsterer Axelle Young. ilco

 


Elmer pots, 2020

Series of paper mâché pots, reminiscent of Elmer the elephants look and philosophy. Wire mesh, acrylic paint, varnish, 5 pieces, various dimensions, approx.15x20x25cm.

 


Trunk slice on wheels, 2020

This rolling raw wood slice is a pet in the house. A tiny bit of nature has been tamed and incorporated in our fast-paced lives and urban dwellings. The wheels allow it to keep up with the rhythm. Raw wood and wheels, approx. 50x50x15cm.

 


Dancing paper mâché, 2020

Wire mesh, paper mâché, acrylic paint, 7 pieces, various dimensions, approx. 20x25x20cm.

 


Big painting 2, 2020

 


Big painting 1, 2020

 


Rooftop garden, 2020

Cardboard and acrylic paint, 13 flowers, various dimensions, approx.35x30x1cm.

 


L’ambivalence des sentiti, 2020

The context of the first lockdown forced us to stay put and think, propelled us into some introspective time. The complexity of our ever changing moods and emotions became more obvious and present, and its rythme felt fast forwarded. ‘L’ambivalence des sentiti’ is a mobile whose unpredictable and ever changing visual outcome is dictated by the wind, another element that is beyond our control. Cardboard, acrylic paint, string and wooden rod, approx. 100x150cm.

 


Brique Blanche, 2020

Brique Blanche, ‘BB’, is an aluminium version of the Vietnamese construction brick and is named after the concept of ‘Carte Blanche’. It is during a trip to Vietnam in October 2019, where Koa’s heritage is rooted, that we were struck by the hundreds of construction bricks laying around the streets of Saigon. Deciding to cast in aluminium this mundane object leads us to shift our perception of it. ‘It’s in the eyes of the beholder’. As an artwork, it seeks to highlight the beauty we saw within it as well as the meaning a brick embodies: a foundation stone, a starting point to build something. But BB can also become the practical object we need it to be. What is this change of material, from clay to aluminium, allowing? A vase, a bookend, a construction game, a pencil pot, a door stopper, a shelving system, a paperweight, whatever crosses the mind. 

This eclectic use of the brick reflects, on one hand, what we have seen in the streets of Saigon, and on the other hand, contributes to demystify the ‘holly artwork’. There’s an endless loop between the so-called mundane and the so-called art. By twisting some details – here the material, which deprives the brick from its primary function - we make this change of perception even more accessible. What would you do with two bricks? Five? Ten? Fifty? Hundreds? What could they become? To create or to reflect, you have ‘carte blanche’ with that brick, you have Brique Blanche. It is an object aiming to feed our needs and imagination. Aluminium cast of the Vietnamese construction brick, 100% recycled aluminium, 18x8,5x8,5cm.ilco



Flower Spider Paper mâché trays, 2019

 

 

Flower Spider ceramic 1 and 2, installation,  2019

This installation focused on the benefits of the arts. There is a carpet on the floor, and some ceramic objects to rest or lean on, or to look at. I create a safe space where I invite people to sit, reflect and discuss about their emotions. I’m asking, what -emotions- do you sweep under your carpet? 

 The carpet they are sitting on is made out of a pattern that also invaded the ceramic objects laying on top of it. The pattern lies between a flower and a spider, it is positive and cheerful but can easily shift to something worrisome and troubling. Flowers, the happy face we put on to face others, turn into crawling spiders, the dreadful lies we say to keep our vulnerable selves locked away when wrongfully ashamed of it. Ceramic 1, 70x33x33cm and Ceramic 2, 22x55x55cm, earthenware clay and glazing.

 


Flower Spider aluminium pattern, 2019

Research on pattern and material. Lost wax aluminium cast, approx.40x40cm

 


Bespoke Into-form for Koibird, 2019

Polyurethane open cell foam upholstered with denim. Donut – 45x135x135cm, Wave -45x215x90cm, Half-45x135x90cm, Pickle-45x180x56cm, Ball-50x50x50cm. ilco

 


Paper mache object, white then red, mask - Live in (A work of art), 2018

Live in (A work of Art) is an installation aiming to blur the boundary between an everyday, real life living scene and an art installation. It mixes mass-produced objects and hand-made ones made especially for the installation. The Mask is having its ‘double-life’ by definition, as an object existing both as an artwork and as a functional item. I call the red object an In-Between Object, as it has no defined function but can be assigned multiples, from contemplative object to wearable prop or functional item. I want to demystify the ‘Art work’ and create a way for it to infiltrate our daily lives. I would like this In-Between Object to follow its own design route and be mass-produced after it being born in an Art context. The oranges are a reference to Bruno Munari text ‘Orange’, where he describes the fruit from a design point of view. I believe this installation shows how much context can define the objects and thus how open they can be to different interpretations and uses, and how art can then easily become functional. Wire mesh, papier mâché, oil-based paint, mass produced mirror and carpet, oranges, plinth.



Dyad, 2018

‘Dyad’ is an installation aiming to depict Hans Van Der Laan theory on architectonic space and human experience space. The aluminium cast stands for the dyad inside/outside, full/empty - which echoes the two space images - and the projection situates it in the bigger picture of nature.

‘We must imagine the architectonic space that comes into being artificially between walls as a sort of emptiness in relation to natural space. This emptiness is as it were subtracted by the spacing-apart of the walls from the homogeneous fullness of natural space, and suspended within it, like a bubble in water. Parallel with this conception we must look upon the human space that we experience around us as a fullness surrounded by emptiness; in this case natural space is an emptiness in relation to a space that we experience as fulness - not like a bubble in water, but like a drop of water in the air.’ - Hans Van Der Laan, Architectonic Space. Aluminium cast, approx.15x20x17cm, 37min archives clip projection, excerpts from ‘Secrets of Nature, Pioneering science and wildlife films’ 1950.



On Wheels, 2018

‘On wheels’ aims to question space. On wheels exists both in the positive and the negative spaces, as a tangible object or as a shape. The two perceptions exist thanks to each other’s, they co-exist. On wheels can be used, looked at, walked through, moved around. It is dividing space, creating spaces, breaking space, shaping space. It is an entrance, a wall to stop or to round, and an exit, from space to space. Wood and wheels, oil based paint, 200x200x30cm

 


Into-form, 2017

Into-form is an abstract furniture piece, exploring the concept of gestalt: the idea of a form created by individual parts arranged together and to be seen as a whole rather than as a sum of its components. Five shapes are at the disposal of the user who has the freedom to join them together depending on their needs and feelings. Once arranged, we are looking at an ephemeral and functional sculpture, with every new assembly becoming a new gestalt. The body/ies interacting with Into-form are turning into additional parts and fully merge into the whole picture, becoming each time part of a new gestalt. Purely sculptural, purely functional or playing on both aspects at the same time, Into-form aims to create an emotional bond between the user and the furniture using art as a tool. The many possibilities and ephemeral aspect of each creation along with the interactive and participatory nature of the work should stimulate creativity and thoughts. Into-form is a chair, a sofa, a daybed, an armchair…Its modularity enables endless possible configurations and aims to enhance and embrace the user’s freedom at its best. Polyurethane open cell foam upholstered with cotton calico and velvet, or bespoke fabric. Donut – 45x135x135cm, Wave -45x215x90cm, Half-45x135x90cm, Pickle-45x180x56cm, Ball-50x50x50cm. ilco

 


Hop, 2017

Around 42% of bulky waste in the UK is furniture, this is around 670,000 tons per year. With mass production, furniture got more affordable but the quality decreased simultaneously. These two facts result in a weaker emotional bond between people and their belongings. Chairs, wardrobe, tables, etc. became bulky furniture with no value, leading people to leave them behind with no regrets if broken or stained, to follow a new trend or when moving out. Replacing them by new ones seems to be a quicker and easier way to deal with it. This phenomenon increases overconsumption and waste. Professor J.Chapman, studying the concept of emotionally durable design, explains that ‘Waste is nothing more than symptomatic of a failed user/object relationship, where insufficient empathy led to the perfunctory dumping of one by the other’. Nowadays, there is a need of mutual evolution between the consumer and the consumed.HOP aims to respond to this new essential need, by involving and evolving with its user.
HOP is a flat pack chair that can easily be assembled and disassembled, with possibilities to change the sitting part (color, texture) at the user’s will. HOP is thus easy to carry around and follows the user’s taste and budget over time. Brushed, poli-chromed or lacquered stainless steel structure and wool, cotton or sheepskin seat, H70xW75xL75cm, edited by FAB Design in 2017