#amber-tysiak

#amber-tysiak

'When I go to bed, I go to work.' Starck describes dreaming as an active method in his design process, where sleep becomes a space for production and innovation.

Daniele Castellano's vivid drawings are many things: spooky, hyper detailed, fantastical and never boring. With imagery based on the mysteries of memory, psychology and bodily sensations, Daniele frequently engages with mythology.

'Give them a smile, you know, something that can also be a deeper level of understanding,' Sara Ricciardi tells designboom, framing the installation as an immediate emotional trigger before it unfolds into something more layered.

The design of Anna Bakay's office transforms a conventional notary practice into a serene space that resembles a private gallery, emphasizing silence and tactility.

Light functions as a primary organizing force throughout the work. Domestic illumination, nocturnal lamplight, and mediated light from screens divide the image into overlapping zones of visibility and shadow.

The design elements I would use for my maximalist work takes inspiration from tarpaulin advertisements and posters you would see across Metro Manila. The visual character of these advertisements are really kitsch.

The project explores perception through the five senses, focusing on the moment before interpretation, where sensation precedes cognition and experience is formed through subtle emotional and sensory cues.

The installation invites visitors to look through the tangible surfaces to recognize the traces of the creators, visions, and identities that brought them to life.

In many works, sturdy, almost sculptural nude women appear alongside children and dogs, suggesting an untamed intimacy. The rust-colored painting is Barry's interpretation of the famed Capitoline Wolf, a centuries-old sculpture depicting Romulus and Remus, the mythical twin founders of Rome who were suckled by a she-wolf after being abandoned.

Zolnianska created a copper-wax composite that forms the shades, a substance that behaves differently every time it's worked. Some shades come out smooth and disc-like, while others emerge heavily textured and volcanic, their deeply pitted surfaces catching and scattering light in unpredictable ways.

The building, with its discreet facade and lack of expressive gestures, explicitly conveys the intention of creating an austere, silent, contemplative space; with the minimum necessary elements.

"I love the way that it allows me to connect as a gallerist with collectors and other artists," Galardi said of Future Fair over a video call.

Tania Yakunova's lush compositions are marked by grainy textures and gestural lines, effectively conveying deep emotions and brand narratives through her vibrant color palettes.

Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.

Geddis' sculptures evoke an enigmatic tension between identity and glyph, teetering between abstraction and figuration like retrofuturistic icons, reflecting his diverse cultural influences.

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

Diverse zones allow employees to shift from heads-down work to group sessions with ease. An area for guests, which contains a plant-filled bookshelf, is reminiscent of a living room. The social sector at the heart of the workplace includes a casual dining section and bar. Glass blocks let sunlight filter in and complement the tile backsplash. There's even a room dedicated to deep relaxation, complete with cosmic motifs and a recliner.

"These works are an exploration of the human body's elasticity and capacity to metamorphose. Informed by my own experience of pregnancy and the birth of my first child last year, these paintings are a meditation on physiological transformation and the body's underlying animalistic and mammalian nature."

The new flagship showroom of Ukrainian brand Gunia Project occupies the ground floor of a late-19th-century building on a historic street near the Golden Gate where old Kyiv once began. After three months of careful searching, the chosen space revealed both clear advantages and notable challenges.

Perfect Sense is a series of six objects by designer Iga Węglińska that examines the concept of sensory substitution. The project investigates how the brain compensates when access to one sense is reduced, intensifying other sensory modalities and altering perceptual hierarchies.

Countering the passive consumption of today's social, political, ecological and informational debacle, artist and designer Jerszy Seymour proposes a necessarily utopian alternative, grounded in cooperative creativity. His interdisciplinary practice engages the transformative potentials of art, design and activism through instinctual and embodied energies.

NeSpoon uses paint and the power of contrast to create large-scale lace patterns in a celebration of the craft. Often symmetrical, they appear framed by the outlines of corners and roofs, while windows and doors emphasize the murals' scale. From a distance, the patterns appear flawless, as if they could be printed. Up close, it's clear the lines are sprayed and brushed by hand, emphasizing the handmade.

There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.

On Franklin Street in Brooklyn's Greenpoint neighborhood, one non-commercial gallery fosters 'a small, stubbornly human space for friction.' Friction—the ubiquitous buzzword that captures the simultaneous delight and discomfort of doing things the slow way—is at the heart of artists Pap Souleye Fall and Char Jeré's current show at Subtitled NYC. It also reflects the overall spirit of this little exhibition space and of a burgeoning movement to reject our culture of optimization in favor of a bumpier, more intimate, less alienating experience.

The organicity of the human body we're born inside of is encoded in us. This concept of our organic nature as the source of elemental knowledge, at once direct and mysterious, permeates the textural abstractions exhibited in her survey Magdalena Abakanowicz: The Thread of Existence at Musée Bourdelle.

I don't know what you want to know, says Anne Imhof, three-quarters of the way into our interview. Her cautious smile, between curtains of jet black hair, changes into a sceptical pout. I have just quoted a headline at Imhof, one of Germany's most important contemporary artists, that described her 2025 New York show as a bad Balenciaga ad.