Tag Archives: sculpture

Seoul’s ‘Wild Nature’ Just Inspired the Furniture Everyone Wants

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There’s something quietly rebellious about seeing delicate leather straps wrapped around cold, hard steel. It’s unexpected, a bit contradictory, and exactly what makes Nara Lee’s Pul collection so captivating. The Paris-based architect just unveiled this sculptural furniture series at The Sun Room exhibition in Seoul, and it’s turning heads for all the right reasons.

What strikes you first about these pieces isn’t just their minimalist beauty, but the story they tell about urban nature. Lee drew inspiration from what she calls Seoul’s “wild nature,” those moments when the organic world refuses to be contained by concrete and glass. Think weeds breaking through sidewalk cracks, vines climbing up apartment buildings, or wildflowers blooming in forgotten corners. It’s nature being stubborn and beautiful in places it technically shouldn’t exist.

Designer: Nara Lee

The Pul collection channels this tension between the rigid and the organic through its material choices. Stainless steel provides the structure, all clean geometric lines and industrial precision. But then there are those leather ties that seem to hold everything together, adding warmth and tactility to pieces that could have been austere. The chairs are particularly striking, with backs that bend backwards in ways that feel both sculptural and functional.

What Lee has done here is create furniture that lives in the space between art object and everyday utility. These aren’t pieces that disappear into a room. They command attention, make statements, and start conversations. Yet they’re still fundamentally chairs, tables, and functional objects meant to be used rather than just admired from a distance.

The process behind the collection is just as interesting as the finished products. Lee combines industrial metalworking with traditional hand-crafted techniques, bringing together two worlds that don’t usually share space. The stainless steel gets precision-cut and welded using modern manufacturing methods, while the leather components require old-school craftsmanship and careful hand-stitching. It’s this marriage of high-tech and handmade that gives each piece its unique character.

There’s also something to be said about Lee’s choice to debut this collection in Seoul rather than in Paris, where she’s based. It feels intentional, like coming full circle with inspiration. The city that sparked the concept gets to see its wild nature reflected back through these striking furniture pieces. It’s a love letter to Seoul’s particular brand of urban beauty, where modernity and nature negotiate their coexistence daily.

The sculptural quality of the Pul collection places it firmly in that growing category of design that refuses to pick a lane between art and function. These are pieces that would look equally at home in a contemporary art gallery or a stylishly minimalist living room. That versatility is part of their appeal. They’re conversation starters that also happen to be incredibly practical. What makes this collection feel particularly relevant right now is its exploration of contrast. We’re living in an era obsessed with binaries and either-or thinking, but Lee’s work suggests there’s beauty in bringing opposites together. Hard and soft, industrial and organic, precise and imperfect. The Pul collection doesn’t try to reconcile these differences so much as celebrate them.

For anyone interested in where contemporary design is heading, the Pul collection offers some compelling hints. There’s a growing appetite for pieces that tell stories, that reference their cultural contexts, and that don’t sacrifice artistic vision for mass appeal. Lee’s work checks all those boxes while still maintaining a clean, approachable aesthetic that doesn’t require a degree in design theory to appreciate.

The leather straps aren’t just decorative elements or structural necessities. They’re the collection’s way of softening steel’s edge, of adding human warmth to industrial coolness. They represent the hand-crafted in conversation with the machine-made, the traditional meeting the contemporary. In a world increasingly dominated by algorithmic precision and mass production, there’s something refreshing about furniture that proudly shows the marks of human touch alongside industrial fabrication.

Nara Lee’s Pul collection proves that furniture can be more than just functional objects. It can be commentary, poetry, and practical seating all at once. And sometimes, the most interesting design happens when you let contradictions coexist rather than trying to resolve them.

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Nuvolino Incense Burner Looks Like a Character Exhaling Smoke

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Incense has moved from hippie corners and temples into more design-conscious homes, but most burners are either purely functional trays or ornate figurines that look like souvenir shop castoffs. Nuvolino sits in the middle, a small white ceramic object that looks like a character and a sculpture at the same time. It’s less about holding incense and more about staging a tiny scene of scented smoke.

Nuvolino is a ceramic incense burner designed by Giulio Iacchetti and made in Italy. Iacchetti describes it as a gentle alien that lands on shelves and sideboards to bring a breath of scented air. It’s the first in a planned collection of home fragrance objects, starting in pure white but with the possibility of future artist-decorated versions that turn each burner into a small canvas or signed piece.

Designer: Giulio Iacchetti

The form is a smooth, elongated body with a slight waist, sitting on a low disc base and topped by a rounded head with a single circular opening on one side. That opening acts as a mouth or eye, depending on how you see it, and it’s where the smoke escapes. The proportions are simple and almost toy-like, but the lack of facial features keeps it from feeling kitschy or overly cute.

You lift the ceramic figure off its base to reveal a small cone of incense, light it, let it smoulder, and then place the figure back over it. As the cone burns, a thin veil of smoke begins to drift out of the side opening, making it look like the little character is gently exhaling. The room slowly fills with a soft aroma, and the object feels briefly alive in a way that flat trays never manage.

Nuvolino is inspired by the German Räuchermann, the turned wooden incense man that often depicts miners, forest rangers, or chimney sweeps with smoke coming from their mouths. Nuvolino rewrites that story in minimal white ceramic, stripping away costume and narrative while keeping the core gesture. The result is an ironic, evocative update that fits contemporary interiors without losing the charm of the original folk tradition.

Nuvolino is crafted from white ceramic by Italian artisans, with a finish that emphasizes form and shadow over decoration. The packaging is simple brown cardboard with a black silhouette of the character blowing smoke, more like a design object than a luxury perfume. Together, they frame the burner as something quiet and honest, ready to pick up patina and personal meaning over time.

Nuvolino turns the act of lighting incense into a tiny performance, where a silent figure seems to breathe out fragrance and change the mood of a room. For anyone who likes their home objects to have a bit of personality without shouting, this little ceramic alien feels like a gentle way to let scent and sculpture come together on a shelf.

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Alma Light’s Totem I Turns Fluted Glass Into a Glowing Column

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Floor lamps usually sit in the corner, trying not to be noticed until you need them. They’re functional objects first, designed to throw light where you need it and stay out of the way the rest of the time. Most look like afterthoughts, with utilitarian bases and fabric shades that blend into whatever room they occupy. That works fine for ambient lighting, but it means the lamp contributes almost nothing to how a space feels.

Alma Light’s Totem I takes a different approach, treating the floor lamp as a vertical presence that can anchor a room rather than just fill it with light. Designed by Cristian Cubiñá, it borrows the idea of totems as ascending symbols and translates that into a tall, slender column of fluted glass. The lamp stands 150 centimeters high and only 15 centimeters wide, creating a luminous vertical line that projects light outward while occupying almost no floor space.

Designer: Cristian Cubina for Alma Light

The glass cylinder is the defining feature. Made from transparent fluted borosilicate glass, it catches and diffuses light through vertical ridges that run the entire length. The fluting gives it a subtle retro feel, like classical columns or vintage fluorescent fixtures, but refined into a single, clean silhouette. When lit, the ridges create soft striations of light and shadow, adding texture to what would otherwise be a simple glowing tube.

The structure itself is minimal. A circular iron base in either textured black or satin bronze grounds the lamp, while a matching cap sits at the top. The finishes give you flexibility depending on the room. The bronze version adds warmth and works beautifully against wood paneling or patterned tile, while the black finish lets the lamp recede into darker, more minimalist spaces.

The light source is a 150-centimeter T8 LED tube that runs the full length of the glass, projecting light in 360 degrees. The lamp is designed to really illuminate a space rather than just provide accent lighting, which sets it apart from most floor lamps that focus light upward or downward. The result is a warm, enveloping glow that fills the room without harsh shadows or directional glare.

What makes Totem I genuinely versatile is how well it adapts to different interiors. In the photos, it stands against wood paneling in a historic room, anchors a corner in a contemporary living room with teal seating, and complements a minimal lounge with soft armchairs. It can either act as a sculptural focal point or blend quietly into more complex settings.

The lamp works particularly well in spaces where vertical elements matter. Hotel lobbies, restaurant waiting areas, and large residential rooms benefit from the way Totem I emphasizes ceiling height and creates a strong vertical gesture without cluttering the floor. It’s the kind of piece that changes how a room feels the moment you switch it on.

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A Ring of Light: Ancient Symbols Meet Modern Art at Giza

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Picture this: you’re standing on the Giza Plateau, the Great Pyramids towering behind you as they have for 4,500 years, and suddenly there’s something new in this ancient landscape. A massive aluminum ring that looks like it fell from the future, catching sunlight and throwing it back at history itself. That’s exactly what Turkish artist Mert Ege Köse just dropped on us with “The Shen,” and honestly, it’s the kind of art installation that makes you stop scrolling and actually want to book a flight to Egypt.

“The Shen” is currently on display as part of Art D’Égypte’s “Forever Is Now” exhibition, now in its fifth edition, and it’s doing something really special with how we think about contemporary art in historical spaces. The sculpture isn’t trying to compete with the pyramids or overshadow them. Instead, it creates this incredible dialogue between ancient Egyptian symbolism and modern design sensibility.

Designer: Mert Ege Köse

The name itself is a clue to what Köse is up to. In ancient Egyptian hieroglyphics, the Shen symbol represented eternity and protection, depicted as a circle of rope with no beginning or end. It’s basically the OG infinity symbol, showing up in royal cartouches and religious texts throughout pharaonic history. Köse took that concept and supersized it into a monumental aluminum structure that frames the pyramids like the world’s most epic viewfinder.

What makes this work so compelling is how it plays with reflection and perception. The polished aluminum surface doesn’t just sit there looking pretty. It actively engages with its surroundings, capturing the shifting desert light, the blue Egyptian sky, and the ancient stones in a constantly changing display. Depending on where you stand and what time of day you visit, you’re basically looking at a different artwork. It’s responsive design taken to a literal, sculptural extreme.

Köse has built his practice around creating these kinds of sculptural works that bridge tradition and innovation. His pieces typically feature smooth surfaces and malleable aluminum alloys, materials that feel distinctly contemporary while still carrying a sense of timelessness. There’s a poetic quality to his work that doesn’t hit you over the head with meaning but instead invites you to find your own connections.

The location matters enormously here. Art D’Égypte has been pushing boundaries with “Forever Is Now” since 2021, transforming the Giza Plateau into an open-air gallery where contemporary artists from around the world respond to one of humanity’s most iconic historical sites. It’s not just about plunking modern art next to ancient wonders for the shock value. The exhibition carefully considers how contemporary creative practice can illuminate and honor historical context rather than clash with it.

“The Shen” succeeds because it understands this balance. The circular form echoes not just the ancient Egyptian symbol but also the eternal cycle that the pyramids themselves represent: life, death, and the continuity of human creative expression across millennia. When you look through the ring toward the pyramids, you’re literally framing history through a contemporary lens. It’s a visual metaphor that works on multiple levels without feeling forced or pretentious.

There’s also something to be said about accessibility here. Unlike a lot of monumental sculpture that feels designed for art world insiders, “The Shen” is immediately photographable and shareable. It gives visitors a way to interact with both the artwork and the pyramids in a fresh way. In our current moment where experience and documentation are so intertwined, that matters. The sculpture becomes a portal, not just literally but also digitally, connecting people worldwide to this ancient site through contemporary art.

As an emerging voice in Turkish contemporary art, Köse is making moves that position him well beyond regional recognition. Bringing “The Shen” to Egypt, working at this scale, and creating something that genuinely enhances one of the world’s most significant historical sites is the kind of project that defines careers. What “The Shen” ultimately offers is something increasingly rare: art that makes you feel something without requiring an art history degree to understand it. It’s beautiful, it’s thoughtful, and it reminds us that the conversation between past and present doesn’t have to be complicated to be profound. Sometimes all you need is a perfect circle of light.

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Orbit Kinetic Turntable: See Your Music Move with Flipping Wooden Tiles

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Remember when music was something you could actually see? Not just album art or a Spotify playlist, but something physical that moved and breathed with the beat? Designer Lillian Brown is bringing that tangible connection back with Orbit, a kinetic turntable that literally flips the script on how we experience sound.

What started as Brown’s senior thesis at the Savannah College of Art and Design has evolved into something genuinely captivating. Orbit isn’t just a turntable; it’s a performance piece that translates every beat, every note, every rhythm into visible motion through a mesmerizing display of flipping wooden tiles.

Designer: Lillian Brown

The concept is beautifully simple yet surprisingly complex in execution. Picture a classic vinyl turntable, then imagine surrounding the record with 39 handcrafted wooden tiles arranged in concentric circles. As your favorite album spins, these tiles respond to the music’s frequency and amplitude, flipping and rotating to create constantly shifting patterns of light and shadow. It’s like watching your music dance.

What makes Orbit particularly special is how it bridges the gap between vintage nostalgia and contemporary design innovation. In an era where most of us stream music through invisible algorithms and wireless speakers, there’s something deeply satisfying about watching music become a physical, visual experience. Brown has essentially created a hybrid object that transforms passive listening into an active sensory moment, where you’re not just hearing the music but witnessing it unfold in real time.

The wooden tiles themselves are a thoughtful material choice. Each one is carefully crafted and balanced, allowing them to respond with precision to the audio signals they receive. As the music plays, different frequencies trigger different tiles, creating organic patterns that shift with every song. A bass-heavy track might trigger the outer rings more intensely, while high notes could activate the inner tiles. The result is an ever-changing visual symphony that’s unique to each recording.

There’s also something wonderfully analog about the whole concept. While the mechanism that translates sound into motion likely involves some modern electronics, the physical expression is entirely mechanical. No screens, no digital displays, just wood, motion, and light playing together in space. It’s the kind of design that makes you slow down and actually pay attention to your music again.

Brown’s work taps into a growing desire for meaningful interaction with the objects in our lives. As more of our experiences become digital and ephemeral, pieces like Orbit remind us of the joy that comes from tangible, physical engagement with art and technology. It’s not just furniture and not quite sculpture; it exists in that fascinating in-between space where functional objects become art. The timing feels right for something like this. Vinyl has already made a remarkable comeback, with younger generations discovering the ritual of carefully selecting a record, placing it on the turntable, and actually sitting with an album from start to finish. Orbit takes that ritual one step further, adding a visual dimension that makes the experience even more immersive and meditative.

Imagine hosting friends and dropping the needle on a new album as everyone gathers around to watch the tiles respond and shift with the music. Or picture yourself unwinding after a long day, watching the hypnotic patterns emerge from your favorite tracks. It transforms listening from background noise into a focused, contemplative practice. What Brown has created with Orbit goes beyond clever design or technical innovation. It’s a reminder that some of the best ideas come from asking simple questions: What if we could see music? What if listening became watching? What if technology enhanced rather than replaced the analog experiences we value? In answering these questions, she’s created something that feels both nostalgic and refreshingly new, proving that great design doesn’t have to choose between the past and the future. It can honor both.

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Mesmerizing 3D printed lamp has a maze-like design that is never repeated

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3D printing is a truly revolutionary technology that blasted open the floodgates of creativity and design. It gave almost everyone a powerful tool to realize their dreams and experiment with their ideas. These machines also made it easier to have more flexibility in the execution of designs, like adding an element of randomness to each output. That’s the kind of uniqueness that each of these Maze Lamps brings to your room, catching your attention with its unique lines and snaking paths, creating a play of light and shadow even when the lamp is turned off.

Designer: Stijn van Aardenne

Most people probably think of 3D printers as extras large boxes that sit on desks, applying layer upon layer of melted plastic to complete a small shape. In reality, there are different kinds of 3D printers and different types of printing, and while the most popular machines are designed for use by individuals or small businesses, it didn’t take long for industrial-grade ones to pop up. This kind of printer offers a bit more flexibility in terms of movement and can cover a wider area as well.

The Maze Lamp design takes advantage of this capability by having an industrial 3D printer lay out the lines over a rotating axis. Normally, what you’d get is a cylindrical shape that looks like it was made from a spindle of extra-large spaghetti as the plastic material coils around and around the slowly spinning base. But if you move the nozzle forward, backward, and sideways while it spins, you can create more interesting patterns that look like the lines of a maze. Stack those lines on top of each other and you get a three-dimensional maze on a cylinder.

What makes this process even more special is that the pattern of these lines is random. No two Maze Lamps will ever have the same design, making each piece a one-of-a-kind item. For programmers and designers, this kind of procedurally generated pattern adds a unique characteristic to every iteration. As a bonus, the material used by the 3D printer is made from plastic shredded from discarded refrigerator doors, giving our own waste a beautiful new lease on life.

Thanks to the three dimensional patterns printed around the core, the Maze Lamp entices viewers whether the light is on or not. The light shining from the casts an eerie glow, almost like some otherworldly artifact found hidden in some ancient Aztec temple. On its own, the lamp becomes a sculptural art piece, not unlike a totem that represents the aesthetics and the technology of civilization that made it.

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Sculptural chair design pays homage to a century-old wooden classic

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Designs come and go, but some manage to become icons in their field. There are quite a few such designs in the larger furniture market, especially in the categories of tables and chairs. More than a century ago, a particular wooden design shattered expectations and became the precursor of mass-produced chairs for years, even decades, to come. It has since then inspired many product designers not only to follow in this chair’s footsteps but also to improve on it or even reimagine it with modern techniques and sensibilities. One such ode turns what was primarily a utilitarian design into an art object, exaggerating the structure and form that gave the No. 14 Chair its identity.

Designer: Jiri Krejcirik

Wooden chairs have, of course, been around for centuries, but most of them were often made with elaborate hand-carved designs that didn’t scale well for mass production. In 1859, the Thonet company revolutionized the furniture industry with the No. 14 Chair, or simply the Chair 14, which could indeed be put through a pipeline but still looked elegant in its simplicity. Its most characteristic design was the steam-bent wooden rods that formed the chair’s back, legs, and support.

More than 160 years after its birth, a new design breathes new life into that classic chair and dials it up to eleven. But rather than modernizing the original design, “Ode to Chair 14” reinterprets it from a different angle, one that puts form and aesthetics on a pedestal. While the original No. 14 adopted bent wood to give a mass-produced design more style and elegance, this particular rendition turns that design element into an art form, transforming the chair from a piece of furniture into an art object.

The Ode to Chair 14’s base is similar to the original, with a circular seat supported by four curved legs joined by a ring midway down their length. Where it differs, however, is the backrest, where what would have been a simple arching curve almost spirals out of control and loops repeatedly until it forms a row of intersecting rings. It gives the chair a character that is both eccentric and regal at the same time.

Despite its glossy blue hue, the chair is still made from bentwood beech wood just like the original design. In a way, it demonstrates how production processes have advanced to the point of making even such complex shapes possible. At the same time, however, it retains the same structural simplicity as the first Chair 14, a vision that paved the way for a new breed of chairs for decades to come.

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Stone light sculptures use shadow play to create a more dramatic effect

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Lamps are designed to bring light to a space, but that doesn’t mean they need to be dazzling or blinding. In fact, some lamps emit more subdued and diffused illumination to create a specific atmosphere and enhance the ambiance of an area. Some lighting fixtures even go beyond just the light they shine, putting just as much emphasis on the form they come in or, in some cases, the effects they have on the environment around them. This collection of light sculptures, for example, are more pieces of art than just lamps, but the way it casts shadows inside and around it delivers more impact that, in turn, further enhances the effect that the warm light produces.

Designer: Alex and Henri (Frero)

It’s almost too easy to take for granted the effect that shadows have on our surroundings. Given their dark nature, they’re often regarded as “bad” or even “ugly” elements, especially when they do obscure other more important objects in a composition. That said, shadows actually create a more impactful composition, especially when they contrast with light and create interesting forms thanks to the shapes that stand between the light source and the surface the shadows are projected on.

Fuca

Fuca

Suma

Suma

The Tala Asa collection of light sculptures embraces this kind of shadow play, putting equal importance on both light and darkness to generate a more striking overall visual. Just like in art, negative space provides not only breathing room but a canvas for these contrasting elements to draw on, casting shadows inside holes while also shining light through them. The earthen aesthetic of sculptures provides additional contrast to the unearthly glow of the light shining from inside.

Coco

Coco

Anta

Anta

Each of the five sculptures has a story to tell through their different forms. Fuca’s simple frame pays homage to the beauty of square elements you might find around you, while the arching Suma is inspired by the geological wonder that is the Ring of Fire. Two squares on top of each other make Coco represent balance and equilibrium, while the interplay of Anta’s three stripes embodies both unity and individuality. Lastly, Sunda’s more complicated pairing is meant to convey the intricate structures and complex relationships of tectonic plates, cutting a powerful and imposing figure in any space it stands on.

Sunda

Sunda

Regardless of their design or inspiration, all five sculptures draw from the earth in more ways than one. They’re available in natural tone finishes, including bone, sienna, terra, olive, and lava, but they’re also made from reclaimed stone and minerals bound with resin and coated with natural plaster paint. And just like how the sun and the earth create an interesting play of light and shadow, the Tala Asa light sculptures bring that interesting dynamic to a smaller degree in your home, office, or any space that needs just a little bit of natural inspiration to bring it to life.

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The ‘Gentle Geometry’ Of Wood Reflecting Cultures Through Sculptures By Aleph Geddis

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If you are inclined to woodworking, sculpture, or an appreciation for abstract geometric forms, the creations of sculptor Aleph Geddis are sure to captivate your imagination. Geddis’ work is a harmonious blend of traditional craftsmanship, modernist aesthetics, and a deep-rooted fascination with the fundamental structures of our world.

Designer: Aleph Geddis

Aleph Geddis’ artistic roots can be traced back to his upbringing on Orcas Island in the Pacific Northwest. Immersed in a creative environment shaped by his stepfather’s expertise in sculpture, carving, and boat building, Geddis found inspiration in the stylized naturalism of Northwest Coast Native carvings. His early works reflected this influence, evolving over time to incorporate diverse cultural experiences, such as a transformative family trip to Japan.

His sculptures beautifully straddle the intersection of different cultures and artistic traditions. Drawing upon the rich traditions of wood carving and totems from the indigenous people of the Pacific Northwest, as well as the intricate woodwork of Bali, Geddis merges these influences with the familial impact of his stepfather’s similar craft. The result is a collection of hand-carved pieces that resonate with a global and timeless aesthetic.

As Geddis’ artistic journey unfolds, a consistent theme emerges—exploring the simple elegance inherent in natural forms. His recent works delve into the integral shapes of Platonic solids, conveying a sense of truth beyond human subjectivity. For the sculptor, these forms possess a magical existence that predates and will outlast humanity, offering viewers the pleasure of interacting with something timeless and profound. His Orcas Island studio serves as the birthplace of each meticulously handcrafted piece, connecting the artist’s work to the landscapes that have shaped him.

The sculptor acknowledges the profound impact of a trip to Japan on his artistic exploration. Exposed to the country’s rich woodworking tradition, he integrates Japanese craftsmanship elements into his sculptural endeavors. This influence adds depth and diversity to his work, contributing to a body of art that seamlessly weaves together figurative, abstract, and even architectural elements.

Geddis’ sculptures cross the rational realm of mathematics and Platonic solids while embracing a spiritually inspired curiosity about sacred geometry. Some of his vertical pieces evoke a softer interpretation of Brutalist forms, while others conjure visions of wondrous alien audio speakers reminiscent of Arcosanti. Each creation invites viewers to contemplate the intersection of the tangible and the transcendent, encouraging a deeper exploration of the mystical dimensions embedded in his wooden sculptures. Each of his pieces is an artwork that makes you think, learn, and build conversations. And trust me, the longer you look at them, the more there is to keep.

Aleph Geddis’ sculptures are more than mere artistic expressions; they are gateways to a world where tradition, culture, and the inherent beauty of natural forms converge. Each piece from the Pacific Northwest to Japan reflects the artist’s journey, inviting viewers to join him on a visual and conceptual exploration of warm geometries sculpted from wood—a testament to the enduring magic found within the simplicity of shapes and the richness of cultural intersections.

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Love Hultén brick-inspired sound sculpture uses a bonsai tree to create sounds

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With the prevalence of electronic devices like smartphones and smart speakers, you might think that sound and music can only come from these objects. Of course, they are more medium than source, and there are plenty of things that generate audible audio waves even without the help of man-made contraptions. Nature, for example, has plenty of mystifying sounds that almost border on being musical, but there are also hidden ways that natural objects can produce sounds with a little help from technology. Using biological data and a bit of scientific creativity, one can even hear the “music” that plants make, such as this rather unique “sound sculpture” that makes a small bonsai tree sing its heart out in alien-like tones.

Designer: Love Hultén

To be clear, plants don’t make music, no matter how enchanting that concept might be. What artists, musicians, and designers are doing is to gather the subtle electrical signals generated by chemical changes in plants and interpret them as a series of tones generated by a MIDI (Musical Instrument Digital Interface) device that hardly resembles a pleasing harmony. That said, even that straightforward process is enough to capture one’s curiosity and inspire a sense of wonder, even if it won’t win any music awards.

Tegel is one such artistic exploration in the translation of biological signals into audible sounds utilizing the popular bonsai tree. The choice of plant is almost poetic, given how this family of diminutive plants is often associated with meditation, calmness, and Zen. Ironically, the tones and beeps that are produced by this sound sculpture are hardly relaxing and are more like EDM for parties.

The small tree is housed inside a tall glass dome and is connected to an audio synthesizer via wires clipped onto its leaves. The plant acts more like a series of resistors rather than an actual sound source, and the sound sculpture incorporates dials to fine-tune the sound that comes out of it. There’s even a MIDI keyboard so that the user can add their own input to the mix.

What makes Tegel really special isn’t the process but the form that it comes in. Love Hultén has created quite a few of these contraptions that transform biodata into sound, but those really look the part of machines. In contrast, this sound sculpture is as much art as it is technology, inspired by the brick creations of Danish sculptor Per Kirkeby. It makes the bonsai tree a part of a miniaturized brick garden, creating a visual contrast of organic life and man-made structures working together to produce something akin to a miracle, that of pulling music out of a silent tree.

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