Lore Langendries

Moss green!
Claude Lorrain
AJF Young Artist Award 2020 - Finalist
Survived
Hide, the Fragment 2.0
Hidden Hide
Survival
Hidden Hide - Triple Matter
Hide, the Fragment 2.0 - Survived.Transmuted.Treasure.Hide
Hide, the Fragment
Tableskin for Verilin
Treasure
HUNT
Jas
Hide, the Fragment 2.0 - Natural
Hunacturing - SC Brooches
Antidorcas LL1601
Bodily Adornment - Leather
Hunacturing - RDC Brooches
FOCUS
Holstein LL 1401 - 366 Brooches 366 Days 366 People
HUNACTURING
Small Folded Flatbeads
Hunacturing - SC Fold
Hunacturing - SCV Brooches
Button Hug
BKRK Hug
(Im)perfect Flatbeads
Le Collet
Hunacturing- CC Fold
Hunacturing - CC Brooches
My brooch is Your tie
Hunacturing - RDC Fold
Le Collet - Brass
Toge(a)ther
(Im)perfect Folded Flatbeads
Broken Chains
Hunacturing - GC Brooches
Small Flatbeads
Hunacturing - SCV Fold
Les Pots
Hunacturing - Haaks #2
A Single Back
Hunacturing - VS
Les Châtelaines
Ponsbal
Hunacturing - Haaks #1
Circle Rings
Folded Flatbeads
Belle Bella
Le bouchon
(Im)perfect Small Flatbeads

Hunacturing is a neologism developed in this project.

A making process, fusing Human, Nature & Manufacturing.

 

The world becoming more and more dominated by technology and the digital, virtual image, ensures an increasingly separation from the emotional and physical of artefacts for both the maker and the beholder. Touch or tactile perception is overshadowed by the visual culture in which we live, but still, those visual imagery makes touch and feel the hungriest senses of postmodernity.

The 'Hunacturing' project questions the nature of reproducibility in order to create artefacts that attain a more human touch, a unique fingerprint and certain tactility within an industrial context. An unconventional fusion of natural materials, the human touch and mechanical treatment, like laser cutting, enables me to achieve another perspective on reproducibility. The project extensively uses the laser cutting technique, which has mainly been developed for identical (re)production. In this context, reproducibility is rarely or never questioned since it is digitally controlled and thus stimulates (re)production. However, in creating my work I'm using the technique in such a way that it not only carries out the work but it actually becomes part of the making process. By handling the machine myself in combination with natural animal materials I'm counteracting the mainly automated process and in that way creating an open working process: handling an innovative digital technology through a craftsman-like way of thinking. 

The natural distinctness, such as hair growth and skin thickness, structures and behaviours of each animal hide and specie is used as an active agent in the design and making process. Reproducibility is approached in various ways, creating unique pieces within the serial process.