AUDREY LARGE 

Audrey Large is a french designer currently based in the Netherlands. her style is futuristic yet ironically possesses quite an ancient aesthetic. Her works are rich and desirous, velvety and luminous, tangible and seamless all at once. Audrey places images and objects on the same scale. she doesn’t see a difference in what is physical and what is digital..just different states of matter.

a master of her craft, Large tackles her work in the most noble way and continuing to push boundaries with her organic approach.

Get to know the exceptional Audrey below.

 

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 Who is Audrey Large and what does she do???

I am a french designer based in the Netherlands. My work explores the potential of digital image manipulation processes applied to the design of our material environment. I position my practice in an interdisciplinary form of design that uses digital cinema as a field of research to rethink object design methodologies. 

Embracing the challenge of our exponencial digitization, my work blurs the lines of the obsolete dichotomy of true material and the simulacra of its weightless representation.

Objects are images and images are objects. 

For me, there is no hierarchy between what is digital and what is physical, but instead a different state of matter, which carries within it its own set of rules. 

I am looking for the possibilities of this new materiality.

 


 Where did you grow up and what do you call home now??

I grew up in the south of France, a small town near Toulouse. This is home to me: a place that makes me feel like I'll always come back. 

Did you grow up in a creative household?? Any other family members share the same path as you?

Not really, my parents and siblings have no artistic training or practice. Nevertheless, I have always been encouraged and supported in my creative activities.

 
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 Three words to best describe your aesthetic?

~body without organs~

 
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 Have you always been an artist at heart? Was that what you wanted to be when you were young?

I do not remember ever explicitly expressing, in words, the desire to "be an artist". It's something that even scared me for a long time. While I oriented myself very early on towards an artistic program (I took specialized training in high school), it was a choice guided by what I liked to do at the time, rather than a concrete projection for my future. Everything was instinctive, I knew I liked to draw. Even today, I call myself a designer. Although, these debates on art and design do not find their place in my creative process. I usually let projects guide me where they seem most appropriate, and I do not care about categories. 

 
 

Describe the creative process behind some of your work?? What materials/programs do you prefer to use? 

Intervening in a reality that is none other than a mix of computer-generated images superimposed on an analogous environment, my practice as a designer proposes to treat matter as moving images. 

In this perspective, the design of our tangible surroundings could be guided by composition and editing. As well, image processing techniques are potential tools for material manipulations.  My objects are designed on Photoshop, hand-drawn in 3D with a pen and a graphic tablet, or using visual effects.  The next step is to bridge cinematographic techniques to digital manufacturing processes. 

I use 3d printing a lot. 

For me, it remains above all a means of materialising the shapes obtained beforehand by various processes. There is also something very satisfying about the idea that you can materialise the exact artifact present in your computer through a machine. Also, I like to think that the object itself is built layer by layer, like a moving image made of compositing. 

All the technologies I use already exist, and are the technologies of the present. I position myself as a conductor who connects them in a way that is not usually used. So doing, I hope to open up new perspectives on technologies that condition vision. 


 
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Do you have a special place you like to create? 

Preference to work on the floor, barefoot 

 

 
 
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Would you say there are other artists/designers that you have been taught or inspired by? 

My references revolve more around the field of art than object design, but I would say that I find my deepest influences in film theory.  Sometimes, a text from the 1920's can make me understand a lot about the world today and what I actually do as a designer. 

Indeed, Hito Steyerl and Lev Manovich are major references for me. 

 

 

Where do you get your inspiration and motivation? Do you have preferred rituals in approach or do you like to go with your instinctual energy at the time? 

I like to twist and rethink design methodologies. 

This approach can be embodied in a very intuitive way of working, a spontaneous gesture or, on the other hand, in the development of more complex processes, from a research or technical point of view. 

I suppose that these two approaches feed and respond to each other. 

 
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How was your time studying at the Design Academy of Eindhoven? What was the most valuable thing you learnt? 

It was great! I entered the Master Social Design at the age of 21, definitely a moment in my life when I would be ready to absorb everything around me. I learned to search through my personal fascinations an entry point to critically look at the world around us. 

 
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You seem to have quiet the fascination with colour? Would you say that this is a direct reflection of your personality or juxtaposition? 

I usually like to set up a sensitive attraction between the viewer-user and the artifact, as well as a visual tension between my work and its direct environment. 

Colour is a strong material for creating tactile illusions. 

It gets interesting to me when tangible objects resist language, when vocabulary is missing for their description. 

Iridescent, almost unreal, their material or production technique remains unclear at first sight. 

The function then becomes the last bulwark against the total abstraction of the object. 

 

Research and experimentation are definitely words that come to mind when I think of your work? Would you agree?? How important are these concepts to you and your work? 

Technologies are never neutral and images, both in their content and in the way they are created, are a revealing example of the very contemporary challenges facing society. In this perspective, their deconstruction seems necessary to reveal and understand the influence of technology on our vision system, our norms, our body and our identity. 

I am very interested in these complex systems. 

At the same time, it is very important for me not to remain at the level of research, but to find a way to materialise its content in a concrete way. 

I always try to push the boundaries of the mediums I use. 

In the in-between gap of the travel from a software to another, from a 2d image to a 3d matter, from a 3d artifact to a moving image, there is a translation through which entities get alterated. My work invests this blurred gap and embrace these positive degradations by materialising them into unpredictable artifacts

 
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One book, one movie, one track?

~ The last book that completely shook me up: La vie devant soit (The Life Before Us ) - Gary/Ajar - 1975

~ Something halfway between Yórgos Lánthimos’s Dogtooth/2009 and Wong Kar-wai’s Chungking Express/1994, with a bit of Toshio Matsumoto’s Funeral Parade of Roses/1969.

~ Something halfway between Kanye West’s Ultralight Beam/2018 and Barbara’s La Solitude/1964.

What’s on the horizon in 2019 for Audrey Large? 

I am just starting a one year long artist residency at the Jan Van Eyck Academie in Maastricht, NL. I plan to use this time to deepen my researches and to develop a new project. Besides of that, maybe a bit of China, a bit of Korea, and hopefully some unexpected adventures. 

 
 
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10.06.19