Written by Carla Romana

Escher x Nendo Between Two Worlds held at the National Gallery of Victoria is an exhibition which started from December 2, 2018 until April 7 2019. This exhibition features two magnificent creators – M. C. Escher and Oki Sato/Nendo. The overall idea of the exhibition was to create a space where balance and harmony works between two forces – art and design. Nendo wanted to re-create Escher’s idea of making two dimensional things that are inspired by three-dimensional things, by doing the opposite in the gallery space [1].

After looking around the exhibition, it became clear that there was a connection between the Escher’s work and Nendo’s design space. Nendo created the space around Escher’s work. It gave individuals the chance to see two dimensional work but transformed into three dimensional forms through the gallery space. Each room was different, and conveyed a different mood. Although it was intentionally black and white just like Escher’s magnificent work, it created solitary but also harmony.

Escher explored the Regular Division of the Plane and was particular obsessed with the idea of patterns interlocking shapes to create a bigger picture. Escher was able to ‘achieve a seamless metamorphosis of form in his images, creating an expression to his imaginary world of ‘inner visions’ [2].

Escher’s ‘Sky and Water’ (Figure 1) woodcut artwork shows the idea of his theory – the creation of tessellations morphing from one state to another. Escher connects the bird and the fish as well as the sky and the water. I found it interesting that both are opposites however they both relate to one another. Escher was fascinated by the idea of the figure and ground in this transformation whilst simultaneously creating a powerful metaphor of the elements of the air and water [3].

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Nendo’s ‘Transforming House’ (Figure 2 & 3) installation design [4] was the space that was surreal compared to the photos that I’ve seen on Instagram. The installation gives individuals a chance to be within the space and be a part of artwork. The roofs of the house gradually open up and out, as if turned inside out [2]. From the centre of the installation, you are able to experience the roof unfold and turn into another form of a house towards the end. Nendo’s design gives an illusion of being able to step into a two dimensional picture. Viewers are able to wander around the space and discover Escher’s works as they immerse themselves within the installation.

Being within the space, and walking into the room and seeing the installation from a higher perspective, hearing the people in awe gave me the thought that this exhibition was a success. Not only were you able to just see the artworks but you’re able to interact with it. Comparing both ‘Sky and Water’ to ‘Transforming House’ people are able to see the relation between two and three dimensional things. The split gallery space present two different viewing experiences, allowing individuals to become immersed with the atmosphere.

[1] Escher x Nendo | Between Two Worlds, Audio Transcript, accessed April 11, 2019, https://www.ngv.vic.gov.au/wp-content/uploads/2019/03/NGV_EXN_AUDIOTRANSCRIPT.pdf

[2] “Escher x Nendo | Between Two Worlds, National Gallery of Victoria (NGV), accessed April 10, 2019, https://www.ngv.vic.gov.au/exhibition/escher-x-nendo-between-two-worlds/

[3] Escher’s ‘Sky and Water’ (June 1938) woodcut artwork

[4] Nendo’s ‘Transforming House’ (2018) installation design

[5] Escher x Nendo | Between Two Worlds, NGV Gallery Book, 105-109

[4] Oki Sato Interview, Escher NGV, accessed April 10, 2019, https://www.dezeen.com/2019/01/17/video-interview-oki-sato-nendo-mc-escher-national-gallery-victoria-movie/

Written by Carla Romana

As a designer myself, I have always been inspired by multiple artists and designers through my years of study and have experimented with various mediums and materials. I’ve always been curious about the creation of installations and by movement of water. It has always been something I’ve been wanting to explore and trace back to, with the memory of when I first had a fear of the deep blue.

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A few years ago, I worked on a contemporary mini installation piece Hand-in-Hand (Figure 1 & 2). This installation piece was inspired by an Japanese artist, Nobuhiro Nakanishi and his work Layer Drawings (Figure 3). He creatively used photography to explore time, space and art installation [1]. I found it interesting that his series of photos was a big gradual image through multiple acrylic sheets which gave the view of a panoramic image.

The overall meaning of this installation is to ‘overcome the loneliness and hardship’ and escaping from a cramped confinement – being trapped in a space. The main interest of the installation are the hands that form an illusion of one side grabbing ahold of the hand on the other side of the installation. Coming together, both ends of the installation forms an arch, a pathway that creates a way for the individual to escape and to move forward. Sadly I don’t have an image that shows this arch/pathway. The tonal shift in the waves (from light to dark) as well as the desaturated arm is interpreted as an individual trying to reach out and escape from the confinement.

The hands are also an important part as its associated with the “pleasure of proximate senses” – the sense of touch [2]. The hands reaching out are a sign of hope. Even though it may be blue, black and white and could illustrate sadness and negativity, it could also depict a sign of hope and a better tomorrow. Even in our society today, we are starting to perceive ideas and going beyond the social norms. Escaping the boundaries and being influenced by those around us to move forward. When looking at the spaces between each individual sheet, it’s as if you want to attempt to fill the gaps in between. We want to fill in missing time and space. I wanted to create an installation where you’re also able to experience space, time and emotions as sensations experienced by both the viewer and the artist.

In a way, I wanted to explore two different realms – ’reality and fiction’ through the creation of the work (fiction) as well as the meaning behind the piece (reality) [3]. As seen through Nakanishi’s work, we are all subject to the passing of time, yet each of us feels and perceives it in our own way [4]. We experience the ephemerality of time through memorable objects and that serves as a purpose when we revisit those memories [1]. Despite being trapped in a cramped confinement, there will always be a way to escape whether you are bound by boundaries or not. Time will tell, that there will be someone willing to help you escape, from the depths of the deep blue.

[1] Nakanishi, Nobuhiro, About Layer Drawings, accessed April 10, 2019, http://nobuhironakanishi.com/essay/layer-drawings-en/

[2] Mack, Adam, The Politics of Good Taste, 2012, The Senses and Society, 7:1, 87-94

[3] Bourdieu, Pierre, Introduction from Distinction: A Social Critique of the Judgement of Taste, 1984, 1-7

[4] Zhang, Michael, Layers of Time, accessed April 11, 2019, https://petapixel.com/2017/06/19/layers-time-created-arranging-photos-acrylic/