Felicia Ferrone‘s recent exhibit, On Space is on view now in Chicago’s Westloop. A thoughtful collection of pieces that challenge the status-quo of social interaction through design. We spoke with Ferrone about her processes and the project on view now.
What got you thinking about the concepts behind “On Space?”
Each of the projects was a very individual exploration linked by a common DNA of tension, movement, minimalism and rigor.
What comes first? Does your process inform your design or vice versa?
My work develops in several different ways. Sometimes it comes from a process of playing with a certain material and physically drawing forms out of the inherent properties of the material. At times it’s through the exploration of an archetype, while other times it might be through my “misreading” of an object or element which then inspires me to develop new forms or ideas.
For me, materials and production are also an inextricable part of the process. Materials, form, production capabilities, and function cannot be separated one from the other. Each aspect must be considered at all times as they influence each other and are interdependent. The process often becomes a play of “move/counter-move.” This is true of architecture, which is my formal background, where you are dealing with multiple complexities of scale, program, constraints, and intention simultaneously.
Did any of these pieces prove particularly challenging to realize or develop?
Each piece, while seeming very simple, was technically very challenging to create. By create I mean not only produce, but to also conceive of the realization of it since many of the pieces really pushed into new territory of technical innovation and exploration. There was a very close collaboration with the craftsman who produced the work, each posing their individual challenges. Each of the producers also had to be willing to push themselves and their own skills into new territory in a way they had not previously. This pushing of technical boundaries in production is also an exciting moment in the process for further development and discovery. The Unir table for example had to be studied with a structural engineer due to the long span of the glass and its minimal points of intersection with the steel structure. The Lume chandelier was something that not only had certain electrical needs of the piece as the single cable electrified the piece but also provided the structure as well, all the while keeping it in balance as a mobile.
What’s next?
As an interdisciplinary studio practice, I have a projects ranging from architecture to design. It is wonderful to be able to work between disciplines in a fluid manner as I find it difficult to draw the boundaries of where one field stops influencing the other. I also teach a studio course in Designed Objects at the School of the Art Institute where I explore certain themes like the intersection of emotion and design.
by Jean Lin
