Tabulatopia at Château de la Borie

By invitation of Château de la Borie / Galerie d’Art Contemporain. June 2020. Tabulatopia Collective (Jonmar van Vlijmen and Ronald Boer (together De Onkruidenier), Céline Pelcé and myself).

Tabulatopia was invited for a weeklong residency late June 2020 in order to explore the four different gardens of Château de la Borie. La Borie’s gardens consist of the traditional jardin à la française, a jardin en mouvement to the philosophy of Gilles Clément, a permaculture garden and a forest garden currently undergoing a rewilding process. The results of our research and findings of our residency were shared during two edible exploration walks and a workshop.

During our stay we have focused on the hyper local and have prepared little tasters found in 2m² across the four different gardens. These hyper local tasters were shared during edible exploration walks with visitors. Some elements we have worked with were; dried clovers to become part of a tempura, toasted dandelion root as a slightly bittersweet garnish, fern tops served sautéed as base for a canapé and sticky weed seeds as a coffee-like dust to garnish another little edible garden taster. The plant narratives, the local experiences and recipes we produced during this week will become a small publication.

Kleureyck Exhibition, Design Museum Gent (BE)

Re-table(au), performative installation, Design Museum Gent (BE) 2020

2020 was the year Ghent and Flanders were honouring the Flemish painter ‘Jan van Eyck’ and I was pleased to be invited by The Design Museum in Ghent to create content for two experience rooms for their large scale exhibition named ‘Kleureyck’. In collaboration with the Jan van Eyck academie’s Food Lab, I assembled a fantastic team of artists to develop a concept deeply rooted in the colourful landscapes of the ‘Ghent Altarpiece’ by Jan van Eyck. His unique use of colour was the genesis of our explorations as Céline Pelcé, De Onkruidenier (Jonmar van Vlijmen and Ronald Boer) and myself set about devising a new piece which we named ‘Re-table(au)’.

The realistically depicted scene in this particular painting is an imaginary one, where locations and seasons are innovatively blended. This concept of imagined reality provoked thoughts amongst us relative to our current global food system in which the fiction of van Eyck’s depiction of exotic produce is now very much a non-fictitious reality where almost all edible produce (at least from the Ghent Alterpiece) is possible to source all year round regardless of its natural season.

Re-Table(au) is an endlessly evolving foodscape reminiscent of seasonality; where both established and fledgling exploration/preservation techniques and poetic rituals are presented in a tangible way. Activation moments occur throughout the exhibition in which the evolving tableau is shared physically and internally through a ritualistic experience of colour and flavour in a multi sensory environment including edible objects and other concoctions allowing you to literally digest the landscape.

http://www.designmuseumgent.be/

Photos © Design Museum Gent, Filip Dujardin


Under the Influence of Color

Multisensory dinner performance, Jan van Eyck Academie, 2019
The interactive food experience was co-created with food designer Céline Pelcé. The wider concept and the light and sound installation and experience was co-created with the artists Céline Pelcé, Anne Huijnen, Lyndon Barrois Jr, Ana Guedes, Ed Begley and Addoley Dzegede.

About Color Through Time
As the first event in this series, Color Through Time takes inspiration from Jun’ichiro Tanazaki’s text In Praise of Shadows (1977), and will use food to facilitate dissonance between perception and experience, as the relationships between appearance, taste and texture become complicated and re-adjusted. Approaching the sensorial experience through technological time, the evening will fast forward through centuries of evolving light sources, and transition from handmade to mechanized methods of food handling. The various flavours served over the course of the evening will explore, through a kind or re-enactment, changing environmental sensibilities that redirect the aesthetic experience of the beholder.

The flicker of the flame finds familiarity in the fluorescent tube, but so much has changed in the span of time between them. This first event seeks to offer its participants a time traveling of sorts, compressed into a few hours, towards a kind of atmospheric schizophrenia. Maybe the future is made from the past? Or maybe the past is just a collection of future artefacts?

Under The Influence of Color 
The multisensory experience series ‘Under the Influence of Color’ invokes the distinct sensory elements that contribute to the perceptual soup we call atmosphere (color, smell, taste, light, sound). Light and color can be seen as inseparable entities, as the former makes way for the latter. The manipulation of light leads to the wrangling of color, influencing the degree to which it is suppressed, liberated, differentiated, or assigned meaning. Color functions as an invitation or deterrent; as informant or signifier; and as aid to seduction or disgust. What if these codes were somehow re-framed and remixed? And how does the quality of light precipitate different responses to the same source material? Using food as a primary catalyst, Under the Influence of Color will examine the parallels between bodily ingestion and visual consumption, from the naturally occurring, distilled, and synthesized contexts of food and image, and the mechanisms of production and application that have ensued.

Color through time is a light sensitive tasting in seven stages. Here, we use food to facilitate dissonance between perception and experience, as the relationships between appearance, taste and texture become complicated and re-adjusted. This sensorial experience fasts forward through centuries of evolving light sources, and transition from handmade to mechanized methods of food handling. The various flavours served over the course of the evening will explore, through a kind or re-enactment, changing environmental sensibilities that redirect the aesthetic experience of the beholder.

Stage 1 : Fermented whole cabbage / natural light / end of the natural daylight
Stage 2 : Apples cooked in clay on fire / natural light / dawn
Stage 3 : Salt baked trout and beetroot marbled eggs / candle light
Stage 4 : Steamed dumplings / incandescent light
Stage 5 : Ice cream mochi / fluorescent tubes
Stage 6 : Grayscale icicle from earth to flower / LED lights
Stage 7 : Tonic and Szechuan buttons / Black light

Photos © Sebastien Lauret

Light on waste

For this project I explored what value visitors of the exhibition (Making Believe, London (2011)) would give an object made completely from reclaimed materials by exploring the possibilities of scaling and re-imagining the way we think about waste materials. I was interested whether an object could be seen as design, and not a form of ‘recycled art’ if I were to change the function and use specific materials. If by ‘redesigning waste’ and selling it could I, as a designer, be able to make a living by doing so?
During the exhibition I asked visitors to bid in a false auction, and to give their opinion on the matter.

hottubtoiletlamp1vandervalkm_printwiredlamp2xraylamp1

 

 

 

CMYK chairs

During my internship at South Side Design and Building (Greenpoint, NY(2010)) South Side was asked to develop four chairs as well as four benches as part of the CMYK Cocktail event as organised by Tasteologie at Droog’s New York stores. Working closely together with Emilie Baltz (emiliebaltz.com) as well as Adam Thabo (adamthabo.com), we created zero waste benches utilising standard construction materials (2×4′s and OSB panels.) The chairs were reclaimed and hand-painted to create unique and contemporary takes on classical and modern forms each representing a colour from this subtractive colour model.