For Andrés Reisinger, Dreamscapes Are a Necessity

When his 3D rendering of a plush pink armchair went viral in early 2019, Argentinian artist and designer Andrés Reisinger heard from thousands of people on the internet trying to convince him to create the “real” thing. Reisinger eventually brought The Hortensia chair to life after a year of prototyping, and a physical version of it—made up of 20,000 polyester ‘petals’—has since been acquired by the Design Museum of Gent. The chair will soon be available to consumers globally. Reisinger’s work blurs the lines between real and imagined. The Shipping, the designer’s newest collection, builds off of this hybrid portfolio.

Last Friday, Reisinger launched his first 24-hour online auction featuring ten of his newest designs—four of which have physical counterparts and five that function as “impossible objects” available as prints of digital representations created using Cinema 4D software alongside the GLB/GLFT 3D model of the piece which allows each object to be used for virtual and augmented reality applications. The remaining design is an opportunity for the highest bidder to create a custom physical piece with Reisinger. All of them sold in less than ten minutes.

“I’ve been working on this [combined exhibition-auction] for the last four months, around 15 hours a day, every day. As an independent designer, I’m totally pumped and extremely grateful to see this hard effort rewarded,” Reisinger tells Metropolis. The winning bid to design the custom piece placed at just over $67,700.

The event comes at a moment when many artists and designers across the globe are searching for and building new realities using 3D-modeling and rendering, a movement popularly labeled as “dreamscapes.” Reisinger’s work in particular has been at the forefront of this movement, defining a new generation of aesthetics through his atmospheric visualizations and iterative design process leading to tactile manifestations of his designs. “I think that beyond a trend, creating dreamscapes is a necessity,” he explains, “We create the world we want to live in. Sometimes you just need to outline a goal visually in order to get there.”

Designing digital first has technological and environmental benefits as well, he adds: “The fact that we can explore infinite ways to build and design without having to negatively affect our world by generating waste…it’s very important that a large percentage of our culture exists in the digital space.”

Reisinger believes that once art and culture are “freed from spatial and temporal constraints,” rules about how we design and experience design can be re-written. He explains in an artist’s statement: “With 3D art as my medium, the objects and spaces I build invite a reconsideration of what it means to be immersed and to connect…As the physical and digital worlds continue towards unity, I will keep creating across them to signal that it’s no longer necessary to touch something in order to be touched by it.”

You may also enjoy “Form Follows Fantasy: The Rise of the “Dreamscapes” Movement”

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