Seamless: the digital in design.
Museum of Architecture and Design,
Ljubljana, Slovenia.
19th September – 3rd November 2013.

Brezšivno: digitalno v oblikovanju.
Muzej za arhitekturo in oblikovanje,
Ljubljana, Slovenija.
19. september – 3. november 2013.

Participants/ Sodelujoči.
Louise Adkins
Kirsteen Aubrey
Mark Beecroft
Keith Brown
Fabrizio Cocchiarella (+ Emma Hayward)
David Crow
Vanessa Cuthbert
Joe Duffy
Michael Eden
Jon Hannan (+ Robert George)
Steve Hawley
Toby Heys (+ Robert Saucier & Oliver Blank)
Saoirse Higgins
Jonathan Hitchen
Nigel Hurlstone
Hilary Judd
Alice Kettle (+ Huw Wahl)
Amanda Langdown
Jane McKeating
Joe McCullagh
Monomatic (+ Nick Rothwell)
Sally Morfill
CJ O’Neill
Alex Russell
Ulysses Sengupta
Annie Shaw

Head of Department, Design.
Joe McCullagh is Head of Design at the Manchester School of Art. His career to date has been in design and education. He has been a graphic design consultant in a number of companies both in the public and private sectors and set up his own graphic design company in 1992. Joe’s research interests are in pedagogic international and cross-cultural design education. He has exhibited graphic arts work throughout the UK and internationally.

In the distance.
Based on studies on the aesthetics and phenomenology of pictorial ‘inbetweenness’ within a cross-cultural art and design education and practice. This body of work references early graphic works. He is concerned with exploring the ‘digital pixel aesthetic’ with influences of ‘Eastern aesthetics’. Joe pushes the quality of the pixel re-aligning and responding experimentally with digital processes. There is a preoccupation with the illusion of colour and depth/space in a two dimensional digital form inspired by an Eastern sense of space. He likes to play/reconfigure representations of realism and abstraction. The work is located between the abstract and the concrete between the East and the West. The works are created digitally, relying only on the digital camera as a primary source. The work derives from ‘scapes’ in its own expressive and improvisational way leading to graphic almost abstract representations. They bring together variations on a theme in an evocative fusion of graphic form and colour. They exist between a 2D and 3D space, what Joe calls a 2.5D space located inbetween both dimensionally and aesthetically. The works are increasingly less literal and start to create their own language of representation, eliciting poetic thoughts and open meaning.
Special thanks to Jill Boyes for her technical embroidery expertise in the production of these works.


Joe McCullagh

Vodja oddelka za oblikovanje.
Joe McCullagh je vodja oddelka za oblikovanje na šoli Manchester School of Art. Doslej se je ukvarjal z oblikovanjem in izobraževanjem. Bil je svetovalec za grafično oblikovanje v številnih podjetjih, tako v javnem kot v zasebnem sektorju. Leta 1992 je ustanovil lastno grafičnooblikovalsko podjetje. Njegovo raziskovalno delo je usmerjeno v mednarodno pedagoško delovanje in medkulturno izobraževanje na področju oblikovanja. Svoje umetniške grafike je razstavljal po vsej Veliki Britaniji in po svetu.

Hitri odkruški.
Kot številčna različica »Flash fantastike« dvajset merilnih trakov na kratko predstavi zgodbe s pomembnimi podatki. Obletnice, velikosti čevljev, čas kuhanja, zaželene obsege pasu in dneve od rojstva do smrti. Trakovi ponazarjajo stvari, nakazujejo vrednosti in »brezšivno« štejejo sekunde skozi leta.
Proces digitalnega tiskanja pripovedi je zahteval vključevanje lahkotnih priložnostnih kracarij in risb v oblikovane predmete. Sekvence so sestavljene iz malenkosti našega vsakdana in se poigravajo z našo obsedenostjo z določanjem količin ter organizacijo življenja in izkušenj. To so digitalne slike, ki kritizirajo digitalizacijo življenja.
Merilni trakovi po navadi opredeljujejo standardne meritve, tu pa so uporabljeni za oblikovanje nečesa nasprotnega; avtorica se igra z merjenjem na bolj fluiden, »brezšivni« način. Za ponazoritev našega številčnega pogleda na stvari je uporabljen celoten predmet, od enega konca do drugega, brez drobljenja. Ročni šiv poveže digitalno z analognim in ustvarja enotne sekvence, kjer ročno prebadanje tkanine povezuje sprednjo in hrbtno stran.
Zaplet podob se materializira skozi igro s številkami, ko se merilni trakovi prepletajo in vplivajo drug na drugega.

j.mccullagh@mmu.ac.uk
artdes.mmu.ac.uk