FINAL PRESENTATION¶
what¶
why¶
who for / with whom¶
This excerpt from Karla Girotto was extremely important to redirect who my work is being done for. If before my work was aimed at raising the awareness of the observer, now it is to materialize the cry trapped in the throats of activists who, as much as they mobilize their anxieties into action, sometimes find themselves trapped in the feeling of impotence in the face of the complexity of the problems that are willing to face.
video / final result¶
oficial images:
images and video by Dennis Siqueira
how¶
Tools that helped me materialize my project research.
Final ideia:
Water Beats exposes and questions the issue of Brazilian waters through a filmed installation. After so much research on the subject, I found myself lost in the amount of information and could hardly imagine that it would be my first 100% conceptual work.
The artwork brings the reflection of water as an extension of ourselves through a torso made with cotton textile waste paper that brings the recording of the 12 Brazilian hydrographic regions, the map dissolves in biotints (hibiscus, matcha, clay and iron) stored in hospital bags.
A hydrography that cries and bleeds as it falls ill in the midst of colonization and extractivism. The piece has an internal soft robotic structure that breathes in time with the heartbeat through pneumatics programmed by Arduino. Brazilian waters breathe through devices.
Threads support the piece during the act. Our waters are hanging by a thread and continue to resist thanks to indigenous peoples, riverside communities and environmental activists.
Finally, a mirror reflects the whole scene, bringing a reflection of my own anguish and of those who, sometimes faced with the amount of information about the climatic collapse, are left with the scream stuck in their throat amid the feeling of helplessness.
process¶
Some steps:
Scaffolding:
Torso miliing at CNC machine (made in the digital bodies and textile scaffold week).
Cotton textile waste papper making:
Preparing the textiles with scouring, tannin and mourdant:
Laser cutted mold:
Making my bioinks:
Bioinks from Hibiscus, matcha and clay with Aristolochia braziliensis
Tests with PH interactions
Soft robotics making:
Some tests:
Final 3D printed mold
bublle problems
Insulation:
Eletronics and code for the inflatable
circuit
code
Special thanks again to Enzo Lopes Amaral and Simão Angel Xavier!
Assembling the parts and instalation:
Special thanks, once again, to Dennis Siqueira who helped me to set up the installation in addition to recording and editing the videos and images.
considerations¶
Soft robotic is still in the prototype stage, I don't consider it a finished product. And I was wondering: How to improve this actuator? I need to continue testing both vectors and the motions they generate, but also need to test wall thickness to see how much the material can inflate. Maybe the electronics should consider a bigger pump (more air pressure) to give more visibility to the inflatable (will the crash be more visible?). If this happens, the code should also change.
The mirror easel is something I would have liked to have done through digital fabrication, but couldn't due to time.
The short development time added to the lack of access to the laboratory due to the fairs they were organizing interfered a little with the development of my final project, even so, I was happy with the result. It is one of the first projects that I am very satisfied with the result because it turned out exactly as I had imagined.
But actually, it was quite difficult to deal with anxiety in that final moment of fabrication and with this scope of research, at times I found myself paralyzed without being able to carry out the final project. As Ricardo said during the MID Term Presentation "I have the impression that you are the type of person who thinks too much! take it easy on yourself!". Angela called me several times and held my hands away so I could continue and finish. So, as much as it is a subject that requires a lot of attention and urgency, it needs to be handled very carefully by the designer's hands. The scope messed with my mental health a lot and art was the way I found to deal with it and materialize everything I was feeling.
Within that, this project and my entire journey at Fabricademy showed a new path for my work: a road where design and art walk together. So I intend to continue within this scope. This is new to me because even before I had a very academic repertoire of research in design for sustainability in fashion (my undergraduate area), but the course showed me infinite paths of exploration that permeate a conceptual work, where for my surprise, I managed to find myself.
acknowledgements and credits¶
Special thanks to Dassault Systèmes, for the scholarship that made this project and my Fabricademy dream possible.
To the Fabricademy faculty, for all the teachings in the program.
To Angela Barbour and Ellora Ateliê, my instructor who accompanied me during this course.
To Anastasia and Cecilia, who gave me good ideas after the project pitches.
To Emma and Diane, who helped and encouraged me during the mentorships.
To Fab Lab Liceu de Ofícios do Cajuru and to Cleverson Fuzeti, for all my use of the Fab Lab in this period.
To Escola do Patrimônio de Curitiba and Liceu das Artes and all their team, for allowing me to use their scenery space and providing all the necessary help for the installation to happen.
To Giovana Moreira, for her friendship and emotional support during the process.
To Enzo Lopes Amaral and Simon Angel Xavier, for all the help with the electronics part of the project.
To Lucí A Guerra, for the narration.
To Dennis Siqueira, for his help in setting up the installation, recording, and editing the final video.
To my father, who helped me with the name of the project.
My psychologist Luana Borsato, because without my therapeutic accompaniment I would not have been able to finish.
To my parents and friends, for all the support.
to contact me: brunnagramos@gmail.com