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Sensory Seas

For this collection, Iris van Herpen draws inspiration from the sensory processes that occur between the intricate composition of the human body, mirrored with the fibrous marine ecology of our oceans. The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal.

在这个系列中，Iris van Herpen 从人体错综复杂的构成之间发生的感官过程中汲取灵感，反映了我们海洋的纤维海洋生态。 最初的灵感线来自西班牙神经解剖学家 Ramón y Cajal。

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He wanted to uncover something that no one had yet understood. He questioned; how does the brain engage in conversation with its counterparts? Exploring our central nervous system in microscopic detailing, Cajal documented his revolutionary findings through anatomical drawings that are considered amongst the world’s greatest scientific illustrations. Hunched over his microscope, he merged science with art and brought to life the threads of our enchanted biology to the human eye. Other inspiration stemmed from diving into the deep depths of the Hydrozoa, a class of delicately branched sea-life organisms. Shifting between a polypoid stage and a medusa stage, the Hydrozoa embroider the oceans like aqueous fabrics, forming layers of living lace.

他想揭开一些没有人理解的东西。 他质问； 大脑如何与其对应物进行对话？ Cajal 通过微观细节探索我们的中枢神经系统，通过解剖图记录了他的革命性发现，这些图被认为是世界上最伟大的科学插图。 他俯身在显微镜前，将科学与艺术融为一体，将我们迷人的生物学线索带到人眼中。 其他灵感来自潜入水生动物的深处，水生动物是一类分支精巧的海洋生物。 在息肉状阶段和美杜莎阶段之间转换，Hydrozoa 像水性织物一样在海洋中刺绣，形成一层层有生命的花边。

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‘Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in clouded pools of blues and lilac, leaking into one another like marble. Colourful meshworks of cellular geometry are translucently layered to create deep-sea aquarelles. Soft shades of greens, blues and gentle ochres are painted by Shelee Carruthers and juxtaposed with the warming reds of coral reefs. The flickers and curves of Cajal’s anatomical drawings are revealed in the ‘Labrynthine’ technique; 3D lasercut silk dendrites are heatbonded to blossoming leaves of black transparent glass-organza, to then be hand-embroidered onto lasercut pearlescent exoskeletons. The 'hypertube' looks are 3D printed from a single-lined web using white silicone thread, that is printed onto black silk-chiffon, twisting down the body. For the ‘Hydrozoa’ technique, cellular aquarelles of dark purples and turquoise were oil-painted and multi-layered into hundreds of transparent lasercut PetG bubbles. The glass organza halos were digitally printed, heatbonded and then hand-stitched into voluminous splashes. The file-work of each llayer is drawn to hang upwards, blooming aquatically with each movement.

“感官海洋”通过显微镜观察海洋生物的人类学与树突和突触在我们身体中传递无限信号的作用之间不可磨灭的细微差别。它吸引了人们对两个洪流消息传递过程如何以不间断的变化状态存在的关注。该系列包括 21 幅剪影，描绘了一幅液体迷宫的肖像，其中连衣裙优雅地洒在地板上，颜料聚集在蓝色和淡紫色的云池中，像大理石一样相互渗透。细胞几何的彩色网状结构半透明分层，形成深海水彩画。柔和的绿色、蓝色和柔和的赭石色调由 Shelee Carruthers 绘制，并与珊瑚礁的暖红色并列。 Cajal 解剖图的闪烁和曲线在“Labrynthine”技术中得以展现； 3D 激光切割丝绸树突被热粘合到黑色透明玻璃欧根纱的开花叶子上，然后手工刺绣到激光切割的珠光外骨骼上。 “hypertube”外观是使用白色硅胶线从单衬网 3D 打印出来的，该线印在黑色丝绸雪纺上，向下扭曲身体。对于“Hydrozoa”技术，深紫色和绿松石的细胞水彩画被涂上油并多层化成数百个透明的激光切割 PetG 气泡。玻璃透明硬纱光环经过数字印刷、热粘合，然后手工缝制成大量的飞溅物。每个图层的文件作品都被绘制为向上悬挂，随着每个动作的水生绽放。

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The ‘Morphogenesis’ technique is carved by thousands of white screenprinting mesh layers, in collaboration with Philip Beesley. 3D twisted vortex models were created in Rhino software, numbered and sliced into 3mm distance, to then be cut on the KERN lasercutter with a triangulated grid of chevron-holes. Grasshopper scripts smoothened the processes of lofting, slicing and nesting. Each layer was embellished by hand with a grid of minuscule transparent chevrons, creating vibrant coral textures that expand and contract around the body. During the show, the models emerge from three 'immaterial' lightwave sculptures, designed by Paul Friedlander. Each sculpture is made from one thread only, that transforms frequency into shape. Illustrating a sea of structure, they encircle the models by weaving light around them, creating a metaphorical maze of sensory waves.

“形态发生”技术由数千个白色丝网印刷网层雕刻而成，与 Philip Beesley 合作。 3D 扭曲涡流模型是在 Rhino 软件中创建的，编号并切成 3 毫米的距离，然后在 KERN 激光切割机上切割成三角形的人字形孔网格。 Grasshopper 脚本简化了放样、切片和嵌套的过程。 每一层都手工点缀着一个微小的透明 V 形网格，创造出充满活力的珊瑚纹理，在身体周围膨胀和收缩。 在展览期间，模型从三个由保罗弗里德兰德设计的“非物质”光波雕塑中脱颖而出。 每个雕塑都由一根线制成，将频率转化为形状。 他们描绘了一片结构的海洋，通过在模型周围编织光线来环绕模型，创造出一个隐喻的感官波迷宫。

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Matching the ebb and flow of arresting sensations from neuron to ocean, changeantsilks ripple buoyantly. Swaying serenely, they are at the liberty of change, regenerating amongst the immensity of the ocean, to the silent, yet eternal chattering of our senses.

与从神经元到海洋的捕捉感觉的潮起潮落相匹配，changeantsilks 轻快地荡漾着。 它们平静地摇曳，可以自由变化，在浩瀚的海洋中重生，让我们的感官无声而永恒的颤抖。