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It was a neat introduction to this year’s exhibition and its perspective: The most compelling works across the event used less-expected qualities of their mediums to challenge our perceptions of how they can be used. A sculpture by the Japanese artist Akari Aso, for example—a brilliantly colorful form of tequila sunrise orange and deep blues—at first appeared to be made from a lattice weaving basket technique, before revealing itself, on closer inspection, to be constructed from impossibly delicate strands of bamboo. Another vessel by the Hong Kong-born, Helsinki-based artist Didi Ng could have been made from glass if gazed upon from a distance, but it turned out to have been crafted from thinly sliced strips of a fir wood plank, then reassembled into a vase of sorts, with its more geometric lower half blossoming up into an organic rim that seemed to follow the same logic of a tree growing taller and splitting. The gradated red ink stain across the surface was also connected to the material of wood, as Ng explained: The charcoal in ink, after all, is the product of wood that has been carbonized over the course of months or years.Officials Star Trak X Lord Wikkin Snow Trak Shirt
Didi Ng’s Pleats Vase No. 7, with works by Hors-Studio x Cécile Feilchenfeldt and Kobina Adusah in the background. There were also many fascinating experiments with metal: Not least the Japanese jewelry artist Fumiki Taguchi’s exquisitely eerie silver brooches, which referenced religious, spiritual, and Japanese heraldic traditions to create wearable, talismanic pieces that shimmered from a technique he himself originated, which involves thousands of tiny chisel marks to the surface of the metal to refract the light. In the furthest room, a monumental wall hanging by the Kenyan artist Dickens Otieno was constructed (in an impressive showcase of upcycled materials) from thousands of shredded aluminium cans to create a silvery, raffia-esque thread. Just next to it sat the Nigerian industrial designer Nifemi Marcus-Bello’s elegant TM Bench With Bowl, which used recycled aluminium from the car industry to explore “a new typology for a way of living in Lagos,” as Marcus-Bello explained. He shared that he was interested in finding solutions to the impact of consumerism in the Global North on West Africa, as well as the textural properties of casting with sand to leave a raw, veined patina that quietly recalled fine marble.
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