welcome to the creative world of
ida-simone
about
exhibitions/residencies/programs:
a matter of life // 2024
locality じば【地場】// 2024
on the shores // 2024
advanced textile program // 2023
can i be a vase? // 2023
12/the twelve // 2023
fertility’s fragile being // 2022
selected works/collections:
universe inside out // 2023
when artificial hips went for a walk in Paris // 2022
fragility // 2021
fragility (lookbook) // 2021
the sculpture is missing // 2021
a woven story // 2020
inhibition // 2020
bubbles // 2019
on the shores //
‘naturalia, artificialia, exotica, scientifica, mirabilia’ & ‘hunting’, 2024
group exhibition created in Itoshima, Fukuoka Prefecture, Japan
during artist residency at Studio Kura, 2024.
by collecting, gathering, discovering, digging, and photographing remnants of what the fishing industry leaves behind at sea on the shores of Itoshima, the series of pieces explores what our waste stream can look like
the work is informed by the Cabinet of Curiosities (Wunderkammer), originated during the European Renaissance. Scholars and noblemen sought to rationalise and understand the world, driven by the belief that all things are related to each other, by collecting pieces from the five categories ‘naturalia, artificialia, exotica, scientifica, mirabilia’, which provided the title of the series. they often lacked labels and the lines between ‘human and animal, natural and artificial’ were often blurred.
the photography series accompanied, visualises the setting and state in which these obejcts were found. they show the beaty in decay and loss of value over time as well as emphasize the colors that there are to be found in our waste streams.
the intention is to give a new round of life to the objects, materials, and elements through manipulation, textile techniques and photography. finding curiosity in discarded material whilst bringing attention to our waste streams. potentially rethinking or contemplating how and what we dispose of elements.
pieces exhibited:
‘naturalia, artificialia, exotica, scientifica, mirabilia’ (9 sculptures):
/between 60-180cm long & 1-20cm wide/
stone, ceramic, glaze, yarn, fishing net, rope, seashells, fabric
‘hunting’ (9 photographs)
each /27 x 40cm/
during artist residency at Studio Kura, 2024.
by collecting, gathering, discovering, digging, and photographing remnants of what the fishing industry leaves behind at sea on the shores of Itoshima, the series of pieces explores what our waste stream can look like
the work is informed by the Cabinet of Curiosities (Wunderkammer), originated during the European Renaissance. Scholars and noblemen sought to rationalise and understand the world, driven by the belief that all things are related to each other, by collecting pieces from the five categories ‘naturalia, artificialia, exotica, scientifica, mirabilia’, which provided the title of the series. they often lacked labels and the lines between ‘human and animal, natural and artificial’ were often blurred.
the photography series accompanied, visualises the setting and state in which these obejcts were found. they show the beaty in decay and loss of value over time as well as emphasize the colors that there are to be found in our waste streams.
the intention is to give a new round of life to the objects, materials, and elements through manipulation, textile techniques and photography. finding curiosity in discarded material whilst bringing attention to our waste streams. potentially rethinking or contemplating how and what we dispose of elements.
pieces exhibited:
‘naturalia, artificialia, exotica, scientifica, mirabilia’ (9 sculptures):
/between 60-180cm long & 1-20cm wide/
stone, ceramic, glaze, yarn, fishing net, rope, seashells, fabric
‘hunting’ (9 photographs)
each /27 x 40cm/
group exhibition created in Itoshima, Fukuoka Prefecture, Japan. during residency at Studio Kura.
by collecting, gathering, discovering, digging, and photographing remnants of what the fishing industry leaves behind at sea on the shores of Itoshima, the series of pieces explores what our waste stream can look like
the work is informed by the Cabinet of Curiosities (Wunderkammer), originated during the European Renaissance. Scholars and noblemen sought to rationalise and understand the world, driven by the belief that all things are related to each other, by collecting pieces from the five categories ‘naturalia, artificialia, exotica, scientifica, mirabilia’, which provided the title of the series. they often lacked labels and the lines between ‘human and animal, natural and artificial’ were often blurred. the photography series accompanied, visualises the setting and state in which these obejcts were found. they show the beaty in decay and loss of value over time as well as emphasize the colors that there are to be found in our waste streams.
the intention is to give a new round of life to the objects, materials, and elements through manipulation, textile techniques and photography. finding curiosity in discarded material whilst bringing attention to our waste streams. potentially rethinking or contemplating how and what we dispose of elements.
