It’s a relief to put names to projects and right now I’m feeling the same sense of euphoria as yesterday when the change in my pocket matched the price of a white chocolate kitkat exactly. Raw Color, an Eindhoven-based studio consisting of one Daniera ter Haar and one Christoph Brach, are responsible for a number of impossibly great projects and collaborations that I’ve seen spread out across the ether in a beguiling one-image-wins-prizes sort of way.
There is the photo essay commissioned by Nowness with Martin Creed – a celebration of balancing food stuffs that appear on the menu of Pierre Gagnaire’s Sketch restaurant – the temporary, multiple-exposure recreation of trees with Mkgk, the contiguous paper still life constructs, wonderfully suggestive photoshoot for Dutch Invertuals, and, most recently, Cryptographer & Encoded Textiles. With multiple experts to help them realise it, Raw Color created a bleach printer that would draw out a custom code in place of your regular alphabet in an ever-changing pattern onto lengths of fabric. When concluded, the piece literally becomes part of the furniture (or accessory?) and suddenly the digital, intangible language is made real – and in tasteful geometrics!
- Louise Bonnet paints exaggerated bodies as symbols of melancholy and loneliness
- Mathieu Larone illustrates the "elusive liminal space between the cryptic and the understandable"
- Micaiah Carter interprets Uniqlo’s linen range with a sultry sun-drenched shoot
- We take a look back at the best stories of the year to date
- Atelier Brenda and Amélie Bakker create “squidgy” identity for Beursschouwburg
- Thomas Pratt photographs the effects of religion, natural disaster and globalisation on an island community
- Pornhub decides to try out beesexuality with new awareness campaign
- “The time just feels right”: Stuart Brumfitt and Mirko Borsche, editor and designer of The Face, on its relaunch
- Graphic designer Shao Nian's portfolio ranges from academic publishing to experimental magazines
- Daniel Gebhart de Koekkoek recreates the ingenious yet useless inventions of Chindōgu
- The Washington Post's climate change issue features 24 equally important covers
- Philip Gerald's lowbrow, crude paintings are a reflection of his views on the art world