coordinated colour
Taken BC (before coronavirus) In July 2019 at the National Gallery Victoria when I was attending a Meetup for the Walk and Shoot group. Our theme was composition.
The installation of porcelain decorative objects in coloured vitrines was situated in the forecourt of the gallery. It was interesting to watch people interact with it. The following link gives more information about it if you are interested.
www.ngv.vic.gov.au/exhibition/so-il/
“Comprising a large group of geometrically shaped vitrines constructed from brightly coloured dichroic acrylic, SO – IL’s design recontextualises and draws into focus a broad selection of white porcelain objects from the NGV’s Decorative Arts Collection, ranging from the seventeenth, eighteenth and nineteenth centuries. The display creates a unique dialogue between historical artefacts and contemporary design, as the architects explain:
‘Through the organisation of colour, form and material, we seek to reduce the object-ness of the individual pieces … It is about a transition from object to experience, and the power of architecture to act as a mediator in that process.’”
coordinated colour
Taken BC (before coronavirus) In July 2019 at the National Gallery Victoria when I was attending a Meetup for the Walk and Shoot group. Our theme was composition.
The installation of porcelain decorative objects in coloured vitrines was situated in the forecourt of the gallery. It was interesting to watch people interact with it. The following link gives more information about it if you are interested.
www.ngv.vic.gov.au/exhibition/so-il/
“Comprising a large group of geometrically shaped vitrines constructed from brightly coloured dichroic acrylic, SO – IL’s design recontextualises and draws into focus a broad selection of white porcelain objects from the NGV’s Decorative Arts Collection, ranging from the seventeenth, eighteenth and nineteenth centuries. The display creates a unique dialogue between historical artefacts and contemporary design, as the architects explain:
‘Through the organisation of colour, form and material, we seek to reduce the object-ness of the individual pieces … It is about a transition from object to experience, and the power of architecture to act as a mediator in that process.’”