Graduating from Central Saint Martins in 2021, his work reflects an interconnectivity between digital and physical; a testament to how technology can be used to enhance our perception of the natural world - to augment and metamorphose. Through this process of recontextualisation, he explores how the beauty of organic forms can be venerated, creating functional, sculptural objects that uphold yet transcend the personality of their predecessors.
Brushed Aluminum, 100cm x 55cm x 41cm (h)
Developed from the intricate cross-sections of a rock discovered in the Sahara el Beyda, the “White Desert,” Egypt. The concept embodies the preservation of the unique irregularities of the ever-changing chalk formations of the desert. An expression of the contours of the rock, fragmented and reconstituted into a refined, linear construction.
Dover Street Market, London
Spatial design for Tondolo installation at Dover Street Market. Custom “black mud” wall, sculpted plinths and various configurations of Gilled Lamp including two custom floor-to-ceiling lamps accompany Alessandro’s clothing and accessories.
Brushed Aluminum, 40cm x 36cm x 62cm(h)
Developed from tracings of various cross sections of a Ceiba Tree found in Oaxaca, Mexico
Group Exhibition, Milan
Participated in a group exhibition during Milan Design Week curated by Joris Verstrepen and Jiin Yoon.
Cotton, Stainless Steel, 100cm (h) x 32cm / 40cm (h) x 14cm
A collaboration with Alessandro Tondolo, using his pleated fabric inspired by mushrooms to create an adaptable lamp that can be reconfigured.
Bleached Beeswax
Exploring the digital augmentation of flora and the subsequent reproduction as functional objects.
3D Printed Ceramic
Exploring the digital augmentation of flora and the subsequent reproduction as functional objects.
PLA, Fibreglass, 62cm x 25cm (h)
Formed from the 3D scan of a palm, digitally altered to further amplify the form. Exploring the augmentation of flora and reproduction as functional objects. Manufactured from 3D printed sections, joined and strengthened with fibreglass and glass microspheres, achieving great structural strength and rigidity.
Concrete, Hot Rolled Steel
Conceived from the 3D scan of a Casuarina Cunninghamiana tree in Mexico. The face of the table top is digitally traced from the cross-section of the lower trunk and roots of the Casuarina tree. With the tessellated nature of the 3D polygonal mesh, the top has visible straight edges, yet is still distinguishable as the original form of the trunk.
The spatial configuration of the roots are symbolic of the interaction between the tree and the earth. It’s weathered contours serve as a testament to the endurance of the tree; an anchor between life and matter. Casuarina’s digital to physical transcendence is representative of this same relationship ascending beyond past, present and future.
Recinto
A collaboration with Luigi Pensa, developed with Marmoles Covarrubias in Mexico.
Starting with the idea of reconceptualising the waste marble, and further incorporating tools and machinery used by the factory workers, this piece is a digital assemblage representing both the primitive and technological processes used to transform the rocks. The work is an exploration of the relationship between the image and the material, and the image as a material. Crafted from Recinto, the monolith is a homage to ancient Aztec sculptures conceived from the same volcanic stone.
Concrete
A series of side tables exploring the digitalisation of objects and textures from nature as a means of virtual preservation, and the subsequent replication in alternative mediums. Throughout this process the organic forms must be transposed to a polygonal mesh, whereby the ratio of decimation dictates the accuracy of preservation. Object 01 has been decimated to a significantly higher degree than Object 02 - but does this detract from the organic origins of the shape? To what extent would the structure have to be decimated to be deemed as unrecognisable?