May 26th, 2011
Two examples of the Honey-Pop Armchair(2000, honeycomb paper)
2010 exhibit at Museum.BeyondMuseum in Seoul, Korea
Programmed Hive #6, 2008, honeycomb on board with wood, urethane foam, wire, metal, paint
Source for 2nd image: .kristin
Yoshioka’s sumptuous Honey-Pop Armchair has received a lot of praise and coverage, and rightly so. It starts out as a slim compression of chair-shaped honeycomb paper (the same kind used by Japanese paper lanterns) that’s accordioned out to full chair dimensions and then sat upon. It then assumes permanently whatever contour it takes from the first person to use it. I love so many things about this piece — the texture, the ghostly whiteness, the fact that all that superthin paper can accept a human body’s weight & then becoming a perfectly personalized object. Rather than go with an image of the chair itself, I wanted to present it in some context, so I found this image of it (above) nestled amid these big wintry giant caterpillar boa thingies from an exhibit in Seoul in 2010. The whole image is so hypnotic, ethereal. It makes me think of a sci-fi movie set, maybe the top tower floor of the despot of some permanently wintry planet.
Paired with that is the work of Hilary Berseth. He constructs wire and wax frameworks for honeycombs and lets the bees execute his vision, resulting in fantastic, coral-like & chocolate flan hued structures. I wonder how this affects the bees, if at all? Imagining them as they go about their business, maybe something in them at the cellular level dimly sensing that they’re being bonsai’d in a way that, if perhaps not deleterious or confusing or jarring, is just noticeably different. Beautiful work in concept & execution. Thanks bees, thanks Berseth.
Please check out more of Yoshioka’s work at www.tokujin.com.
More on Berseth’s work at New York Magazine.