My goal with this project is to create a unique art piece for every person on earth. For this purpose I designed a mold comprised of 14 different pieces that can be re-arranged in a different sequence before each cast. The total number of unique permutations is 6,227,020,800 which roughly correlates to the current world population (see how I do the math below).

How does it work?

The mold is designed on the computer and then a negative is produced by a computer-controlled milling machine. Into this negative I cast plaster to create the actual production mold. I then use the plaster mold to cast porcelain vases. Unlike traditional casting here the arrangement of the mold pieces is alternated each time to produce a one-of-a-kind vase. Each piece of the mold carries a number or letter stamp, and so in each cast a unique ID number is stamped on the vase, I record these ID numbers to make sure I never make the same piece twice.

My commitment

All the pieces will be produced in my studio, it will never be outsourced.

I am committed to produce these objects myself. Their production is limited only by the unknown time I still have on this planet, and my ability to produce. Ultimately, this project aspires to create a direct human connection between the supporters of this project and myself. I will never reproduce your unique permutation.

Each vase produced will be recorded in an online data base stating the patron geographic location (if patrons allow their contact info will be attached to it). This project will continue until I can no longer produce (hopefully until the day I die)

The math

To compute the total number of unique permutations, I calculate the factorial of 13, omitting the 14th part that is used as an indicator to tell me where the serial number begins. For the first part I have 13 options to choose from, for the next one I’m left with only 12, then only 11 and so on until 1. So the total number of unique permutations equals to 13x12x11x10x9x8x7x6x5x4x3x2x1 which equals 6,227,020,800. The two prototypes photographed are numbered 05642CBD7A9138, and 0D1583BCA79246

Photography PD

*Penroscape *(2014) is based on the work of British mathematician Roger Penrose. This wall piece is built from two simple building blocks whose placement in relation to one another is determined by one simple geometric rule. With each unit added to the piece the pattern develops in a non-periodic way, causing the overall pattern to continue to change ad infinitum. While Penrose’s original work dealt with two dimensional tiles and its typical applications use color to make the pattern appear, I added a third dimension using only light and shadow to reveal the pattern. *Penroscape* functions as a decoration (a term I intentionally use despite its pejorative cultural implication) that enhances the architecture of the site it is installed in, while it is also a meditation on infinity and the transcendental.

Photography: Barak Brinker and Rodrigo Cañedo-Gattegno

Gridish is a set of eleven tiles designed to produce an infinite number of patterns. This work continues my research into ways of creating complex forms using a simple generating algorithm. In this work the algorithm is defined as follows:

1. Start by selecting any one tile and placing it on a surface.

2. Add any tile that keeps the smooth flow of the form (ridges must meet ridges and valleys must meet valleys).

3. If there are any tiles left, repeat step 2 until desired space is covered.

Using this algorithm, anyone can create their own unique pattern. Adding a third dimension to regular 2D hexagon tiles enables the pattern to be periodic, free-flowing, or a mix of both.

Gridish is inspired by Islamic tile work and more specifically by the concept of Girih tiles. There are five Girih tiles which are not actual tiles they are a design tool and they are believed to have been used by Islamic artisans in the middle ages to design complex patterns that would later be transferred into an actual tile work, creating some of the most inspiring tile work in history. Without using the Girih tiles designing these complex patterns would become extremely hard to accomplish.

Gridish is intended to be used as a decoration as well as a meditation on the impossibility to represent infinity and the transcendental.

Credits:

Photography: Izik Mishan / Video: Sharan Elran / Thanks for Yael Erel for helping fine tuning the design and Karen Cho for helping to produce this.

*Rough Vase—Bricks #4 Series* (2015) derives its form from the effect of liquid clay pushed in between the mold parts. these by products of the slip cast process are usually trimmed and removed.

I'm interested in these left overs because they reveal the process and stand as a counter point to the original 3D model that was used to create this mold. It's a celebration of the gap between clean pure mathematical form and the messy real world of material where friction and gravity and viscosity work in slightly chaotic ways.

Like other projects of mine the mold creating these vases can be assembled in many different ways and is also used to create some other projects. It based on a generic contour of a vase that was digitally modeled, then sliced and then transferred to actual material using CNC milling.

Photography Brian Jones

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