Inspired by the beauty of acoustic waves we make porcelain cups, bowls and plates. Like shells washed up on the beach, they bare witness to the creatures out there in the ocean. We cast their echoes and trace their shadows. Bringing the start of the foodchain to our kitchen table.
We can peak into the lifes of tiny creatures, barley visible to the naked eye. Only for a moment, as they pass the underwater camera, is their shadow recorded. A chance encounter between the machine out there to help us understand the ocean’s environment and some of the millions of individuals known for being at the start of the foodchain.
As the ship is floating on top of hundreds to thousands of meters of ocean water, hidden by the blue reflection that makes anything beneath invisible to our eyes, it sends out sound waves, travelling towards the bottom of the sea. Anything crossing its path reflects some of that sound.
We developed an algorithm to visualise the sound pattern of those sea creatures.
Image collection An autonomous glider is travelling the currents off of California for three weeks, continuously diving up and down, 400 meters into the darkness. During its voyage water is flowing through. For a moment it’s lit up and anything that leaves a shadow is recorded in an image. Humbled by the beauty of these elegant, fragile, and fleeting photographs we felt they’d best be looked at while having a meal – all the way up the foodchain – reminding us of the intricacies around us.
Accoustic data Underwater we’re as blind as a bat. Soundwaves travel fast in water and anything they encounter echoes some of that sound. Interpreting the echo tells us which animals we’re looking at. Wondering if the sound could be visualised, we started playing around with the code. We developed an algorithm that portrays what zooplankton looks like when looking with 200 to 1000 kilohertz down the water column.
Ceramics
The process from 3d model to glazed porcelain took place at the European Ceramics Workcenter. We 3d printed a mould base and half cups to accomodate non-symetrical designs and allowing us to replicate the plaster moulds. The filament leaves marks on the plastic cups that we printed. Like a shell, the rougher outside contrasts with the inside surface, smoothened by porcelain.
We CNC-milled the plate shapes directly into plaster. We decided to use an open, one-part mould to pour porcelain over the sharp edges milled into the plaster. Like a rock underwater, the sharply drawn edges in the plaster are covered by liquid porcelain that leave swirls and ripples.
Appearing around town, in spots routinely used by the city’s cultural and recreative institutions, Claudine’s work is surfacing on containers and walls, under bridges, and next to abandoned bikes. Who’s the stranger lurking out from behind a piece of paper, while a large portion of the world is sheltering in place?
E Projet vum Claudine Arendt, Lëtzebuerger Kënschtlerin wunnt a schafft fir de Moment zu Amsterdam
Hei dem Claudine seng Iddi :
‘Och wann eis Mobilitéit an dësen schwéieren Zäiten immens ageschränkt ass, sinn ech dovunner iwwerzeegt datt d’Kultur trotzdeem oder grad elo net däerft ze kuerz kommen. Lo ass et awer natierlech och esou datt vill Evenementer noutgedrongener Weis mussen ausfalen an domat och en immensen Leerstand bei der Publicitéit oder den Affichen vun kulturellen Evenementer entsteet. D’Leit mussen awer virun d’Dier goen fir hier Kommissiounen ze maachen an aner Noutwendegkeeten ze erleedegen. Ech fannen datt een elo deen Leerstand kann notzen als Austellungsplattform am Ëffentlechen Raum.
An deem Sënn hunn ech elo zu Amsterdam eng Pousteraktioun gestart wou ëmmer do wou grad Leerstand ass dann e Pouster vun mer opgehaangen gëtt . De Plang ass am Verlaf vum Joer 1000 Pousteren opgehaangen ze hunn.’
De Pouster selwer, mat enger grousser wäisser Fläsch schwätzt dann och genau dat Thema un.
Fir weider Informatiounen iwwer dem Claudine Arendt seng Arbechten kuckt op :
gastauer art & sport 