リチャード アイザックの創作インテリア雑貨、ギフト、オブジェ |
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〒１４５−００７１東京都田園調布１−４−２ | ||
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phone＆fax(担当者リチャード・english) |
＋８１−０３−５４８３−２６１２ | ||
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お電話（担当者松本・日本語） |
＋８１−０３−５７６６−５０９５ | ||
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homepage |
http://www.pro-dotto.com/rsi/ | ||
東京に9年在住のイギリス人デザイナー リチャードスコットアイザックが手掛けるオリジナルインテリアグッヅの紹介をしています。内装、照明からサイン、商業スペースにいたるアートワークをご案内。インテリア、鏡、額、ランプ、立体オブジェ、雑貨、時計から独創的な家具のオーダーメイドも可能です。 |
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所在地 |
ＲＳＩ：〒145-0071 大田区田園調布1-4-2 |
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チャード スコット アイザックの制作過程には、東京という都市を敏感に感じ取り、都市から廃出される断片を解体し、また蘇生させるように、コンピューターやヴィデオなどのパーツ抽出というプロセスがあります。あらかじめ、作品の構想があるというより、素材の言葉を聞きながら作るように、断片の形や材質のおもしろさを引き出しながら、そこに新しい息吹を吹き込んでゆきます。イギリスからアジアを旅して東京という都市にとどまりインスパイヤーされながら、試行するデザイナーならではの発想から作られます。（まつもとけいこ）Making Objects Experimental Design . I very rarely design anything before I start to build it. My objects start as a collage of raw materials on my table. All properties are tested to-gether, matched & reshaped, until a mental image of the desired form is reached. There are partial forms all over my studio, each waiting to be retouched. There are many bins of collections in my store, each bin is a drop box for a particular shape and material, collected from 'the street to the biggest factory'. I collect materials, and the disassembly of home & office appliances feeds the individual components. I must stress individual component, since this is the essence of a good collage of materials. individually, they are no longer identifiable with there original machine, and find themselves to be a raw material once again. You cannot easily find such cool shapes to use so easily. I work equal time on my materials and objects. This gives a vast choice at my mind tip to work on. In my opinion, it does not matter wether I use a piece of an old computer or a bar of aluminium. They are both manufactured before I touch them. My pleasure is to bring life and a new sense to the materials I collect. Tokyo I stress Tokyo, and not Japan as a whole, is a good inspiration for design and art. The reason is plain and simple. Construction and dialy view are changing everywhere, constantly. You dont get comfortable in an old street, instead you get into a forever changing environment. I live with the change, and perhaps could be described as 'surfing the Tokyo'. I put my energy into making new images and objects in my studio, possibly a direct reflection of modern Tokyo. Its not only the buildings that move along, I have heard djs from the UK remark that a Japanese crowd will do what ever they say, as if it was foolish. The first visit, they will follow you, and the second if he/she is popular, but beware of making fun of Tokyo young, when they drop you, you are underground forever. Trend, change and experimentation is what Tokyo is all about. Its a lifes work and very difficult to leave, especially if you cant resist challenges. A word on staying put For 9 years, I have been working as an experimental designer in Tokyo. In that time, the support has come in large part from young individuals. There are precious few people willing or able to help artists on any serious level. One should be famous in other countries beforehand. There is no structure to support or empower artistic ability as far as I have encountered. Of course I would welcome a total reversal of that, and I am intrigued to find foreign publications taking an interest in my work in Tokyo. Why should everyone assume that all artists in Japan have to be born here? Perhaps I have missed out on local interest over the years because I'm not Japanese. I do it because I love my work and Tokyo inspires me on a personal and private level. Despite the hardships and realities of being self employed, I am not sure my output could be the same in a different surround. |