FABIAN BERGMARK NÄSMAN
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FABIAN BERGMARK NÄSMAN
In the beginning was the blob. Curvy, sensual, full of colour. Shapeless and yet formative for the design of the turn of the millennium. Apple's iMac G3 or Nike's Triax watch are prominent examples of so-called "blobjects": tactile objects aesthetically inspired by organic shapes, manufactured using state-of-the-art technology, designed to trigger emotions. As a promise of beauty, pleasure and meaning that has become an object, blob design acts like a projection surface for desires and self-awareness. “Blobjects” stand for an attraction of form that translates directly into physical attraction. Fabian Bergmark Näsman's sculptures twine in pose like sci-fi plants. The invitation to touch seems implied. One could conquer the works like fitness equipment, excite them like playground architecture. They have the visual appeal of chrome nails and tuner cars - or that of a rose chafer. In the end, the futuristic color palette is just borrowed from nature. Bergmark Näsman witnessed the emotionalization of everyday objects as a driver of consumption at the end of the 90s. Aesthetically, the tech optimism before the dot-com crash flashes through in his work. He prefers manual work to industrial production. Behind the flawless surface of his art lies a sincere interest in the process of organic form finding. 2019 Bergmark Näsman made his first mold fragment. All elements of his sculptures are derived from this to this day. He multiplied the prototype with a silicone mold, trimmed and assembled the castings, developed them further - and reassembled them. And it hasn't stopped since then.
In the beginning was the blob. Curvy, sensual, full of colour. Shapeless and yet formative for the design of the turn of the millennium. Apple's iMac G3 or Nike's Triax watch are prominent examples of so-called "blobjects": tactile objects aesthetically inspired by organic shapes, manufactured using state-of-the-art technology, designed to trigger emotions. As a promise of beauty, pleasure and meaning that has become an object, blob design acts like a projection surface for desires and self-awareness. “Blobjects” stand for an attraction of form that translates directly into physical attraction. Fabian Bergmark Näsman's sculptures twine in pose like sci-fi plants. The invitation to touch seems implied. One could conquer the works like fitness equipment, excite them like playground architecture. They have the visual appeal of chrome nails and tuner cars - or that of a rose chafer. In the end, the futuristic color palette is just borrowed from nature. Bergmark Näsman witnessed the emotionalization of everyday objects as a driver of consumption at the end of the 90s. Aesthetically, the tech optimism before the dot-com crash flashes through in his work. He prefers manual work to industrial production. Behind the flawless surface of his art lies a sincere interest in the process of organic form finding. 2019 Bergmark Näsman made his first mold fragment. All elements of his sculptures are derived from this to this day. He multiplied the prototype with a silicone mold, trimmed and assembled the castings, developed them further - and reassembled them. And it hasn't stopped since then.
The constant modification and multiplication of individual elements makes Bergmark Näsman's sculptures related like a species whose evolution he actively promotes. His way of working is a departure from the ideal of one brilliant idea. Instead, step by step, he develops the modular construction kit with his own design language. According to the Italian theoretician Franco Berardi, poetry unfolds its power of expression beyond the boundaries of language. Words outgrow their original meaning when recomposed. In this way they reveal a deeper meaning that remains hidden when the language is used properly. Similarly, Bergmark Näsman sets out to question the limits of form. His sculptures oscillate between organic and artificial, soft and angular, inviting and cold. They claim the ambiguous. Where tips sprout from elegant curves, the sculptural attraction is complicated by a repellent component. Are they decorative like a floral ornament, defensive like the spikes on a rosebush, or aggressive like the so-called anti-homeless spikes in public space? matter of interpretation. Bergmark Näsman takes the superficial cool of the blobs back to the original potential of the amorphous form. His sculptures have the attraction of being effortlessly consumable, but their form is more ambivalent and not designed to dictate a specific behavior. At Bergmark Näsman, form is not a lure, but an end in itself. Sensual, suggestive, an invitation to attentive interaction. Still, nothing against the Rio Volt Discman.