Good Friends

The right amount of soda, the perfect time soaking

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We will stay at home in the morning. You can do calligraphy

This afternoon we will be married

If they let me transform the Hudson building I´ll make millions!

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Sound of wind

Simon cooked for us today

Murmurs

When golden brown divide it in two plates

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Come on, put some rice in the bowl

They fight and fight. Even the police came

There is not soup, it's a disgrace!

Since you are here, have some noodles

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Animals and men build their houses driven by the simple and fundamental impulse of having a place to live, protect themselves and procreate. Many types of homes have been documented: nests, chrysalises, shells, caves, burrows, etc.

So, if what we did historically was construct a home to live in, what would happen if we inverted this idea and destroyed it to eat it? How many houses would we open and close the doors of? Would we feel we had comfort and security in our homes or would we be driven inexorably back towards a nomadic life with no physical reference to our origins?

In order to designate this unnatural practice, we have invented the word DOMOPHAGY: Domus: Roman single-family dwellings. Phagia: “The eating of a specified substance”. This is the object of our project BREADHOUSES.

Each one of these hand-crafted bread houses is unique; each one slightly different. To make them, we have used brown flour, salt, yeast, water, and salt.

Nine out of ten birds recommend them.

Having rescued canvas pieces from GETXOPHOTO '09 invests them with new meaning, creating new objects within the concept of kine-matics. In its origin each work expressed an action, a moment, a portrait, that is to say, something dynamic within something static, as a printed photograph is. "The static once again changes state through these pieces, returning to its original dynamism in another environment."

The collection is comprised of six pieces in a limited edition: a blanket to cover a motor bike, bicycle saddlebags, a rug, flowerpot holders, a bag with various sections and an apron, made from images created by Myoung Ho Lee, Maleonn, Noriko Yamaguchi and Cui Xiuwen.

These objects became a focus because they chart a map of possibilities inside and outside of private space that is never static. An incredible collection specially designed from the images selected.

more info: www.getxophoto.com

Mutations produce a change in the characteristics of living beings; this change happens suddenly and spontaneously. Sometimes they occur in response to environmental change. Although they sometimes do harm in the short-term, they are essential to our existence in the long-run. Without mutation there would be no change, and without change, life could not evolve.

LE MUTANT is therefore an object of many possibilities that vary according to our everyday needs: it can take the form of an expansive leather surface for pic-nicking on the grass or we can hang it on the wall to hold objects, or use it to transport our brushes to a painting class.

This living container has ten pockets with snap-on buttons which allow them to change position, a fixed net for small objects which we want visible or hanging, two cubic containers which open and can be used as plant-pot holders or bread baskets, to put clips, pencils, or any other object, and a large pocket which contains a cushion. To make it portable we attach a branch handle gathered from the Madrid mountains. As its use changes, so does its form.

This piece was created for the travelling exhibition “The New Truth of Leather” organized by the MOVEX foundation, with the aim of joining artists and designers with traditional craftsmen from the region of Ubrique, Spain.

After the manufacturing process, industry requires the design and creation of packaging. The first paper packages contained the products on a temporary basis, grouping them together with handling, transport, and storage in mind. Assimilating these principles but inverting (or perverting) their ends, these four pieces do not transport perishable products, and they don't necessarily have any logical relation with the size of their contents and neither do they get stored: their contents are changed continually, satisfying new needs for usability and ecology.

We are drawn to these traditional containers for their designs and simple lines, so instead of using them to create an entirely new object, we prefer to respect the folds and grooves of the original piece, substituting their raw material with real leather (which is more durable) reminding us of rudimentary packaging but with a contemporary aesthetic, which behaves like kraft paper. These small hand-made pieces have a common appearance which asks to be kept and re-used, in many different ways, over and over again.

One of the human instincts which obeys the laws of evolution: we protect ourselves from birth. The instinct of protection produces a pattern of conduct which cannot be learned. We started out protecting our own skin, later our species, and now we protect our homes, our privacy, our identity and even our intellectual property.

We project this innate primary instinct on our most immediate surroundings, on our belongings, and on our emotions. With this edition, we connect our interiors with our surroundings, which we touch and possess.

Protecting what we have: Alarm brooch
Protecting our good manners: Pad of paper with tablecloth pattern
Protecting our secrets: Rubber stamp to cover text
Protecting our identity: Cushion wig
Protecting our second skin: Made to measure covers for clothes
Protecting data: Stickers to cover data on ID cards

We reflect our identities and our most complex experiences in our closest surroundings, our private sphere. We are interested in the idea of a permeable interior which integrates organically with the exterior.

The piece is constructed from lamps and worker's uniforms, with the aim of showing only the edges, creating a kind of map or path in the pattern of each garment. Within the circle there are plants (exterior) and pieces of furniture which remind us of home/office (our life in the city).

The two spaces (exterior/periphery and interior/centre) interact and complement each other in the circle.

A dualistic, ambiguous structure, where we live, interact and socialize. A private centre which is influenced by our experience lived in the exterior, and vice-versa; a city in which we reflect our life in the private sphere and uncounsciously leave our imprint by the way in which we live there.

Utopian architecture, impossible places, invented maps, invisible networks, imaginary paths and non-existent limits.

100 ways to wear a flag is a project by the artist Alicia Framis in which the Chinese flag was used as the main material.

The conceptual base of the work is the situation of the woman in chinese society. There are more men than women there because poor copules are only allowed to have one child, and they always prefer to have a boy.

The result is a deconstructed piece, as a sign of disappearance and loss, re-constructed again in crochet, a skill which has socially always been attributed only to women.

Empty/impossible pregnancy, claustrophobia, silence, invisibility.

Momentary cognitive absence, or picnolepsia, occurs hundreds of times a day, and goes unnoticed by most of us. As picnoleptics we develop the habit of making up the details in our head to fill in the gaps between the bits we "really" remember. We invent or create these details in order to give credibility to discourse. We must always transgress the limits of memory to search for information.

This collection is drawn on these momentary lapses of consciousness: We have created a fictional city built from souvenirs of real or imaginary journeys to different points on the planet.

The collection represents a full day, which we have divided into ten time units, each one coming from an image or a object to help recreate the site in clothing form. These pieces speak directly about the space experienced, designed for a specific moment, with more importance attached to the context (information) than to the subjective sensation.
Natural and man made materials are used, and Trompe d'oeil pleats and textures are created to emphasize the idea o f the real/fiction. We are attempting to redesign reality.

Vans asked ANTIATOMS to customise their classic slip-on model for an exhibition of young designers that took place in the hotel Chic and Basic in Barcelona, 2007.

Their iconic shoe was transformed into a boot, hand knitted with suede and wool in natural colours, leaving only the characteristic white sole exposed so it could be recognised.

Vans have sponsored ANTIATOMS in their "0+1=a" and "Picnolepsia" projects. Vans shoes were worn for the runway shows.

Puzzle:

1.To perplex, baffle or bewilder.
2.A problem that causes a lot of thought.
3.To think long and carefully about a problem.
4.A kind of game or toy to test ones thinking, knowledge or skill.


Puzzles, which have always been a challenge to the human intellect, are the starting point for this summer collection.
Each piece is a puzzle, solved by means of the material used, the cutting pattern, and assembly of its parts.
We used basic, natural materials such as poplin, sailcloth and cotton knit. White, the colour chosen, represents the moment of clarity when a puzzle has just been solved.
We use black for the elements which hinder the solution of the riddle. These, are put over the garments as accessories in order to obstruct your view of the whole piece.
This collection has very feminine feel, where volume is once again one of the fundamental aspects. In the first group, volumes are created thanks to a deconstructed cutting pattern, based on the structures and mechanics of puzzles. In the second group the mathematic cutting pattern dominates, constructing garments with lines more faithful to the contours of the human body.

The starting point of this collection is "the first steps of language": the instant right at the beginning of the complex process of language development in the individual. Thus we consider =+1=a as the tiniest graphic and sonic origin of this process. This collection comprises 16 looks: each one responds to a word beginning with "a", picked at random using "dada" writing principles.
ally_ antibody_ anatomy_ arctic_ autopsy_ amputate_ appearence_ attitude_ aquatic_ attaction_ abyss_ accordion_ anonymity_ store(almacenar)_ absurd_ accupuncture_ austere_ hug(abrazo)_ chance(azar)_ ancient

Every garment is inspired on the meaning of the words above; therefore you can have, amongst others, an autopsy dress, an anatomy jacket or an allied coat.
0+1=a_BRAILLE Simple, organic lines, borrowed from classic pattern cutting with sculptural proportions that take in our different backgrounds: architecture, fine arts and design. Only natural fabrics are used throughout the garments from where it touches the skin to its contact with the air: wools, cottons, leather, suedes and paper. The deconstruction of the fabrics comes into play to give us a vision of the construction of garments. The fabrics are literally taken apart and the recreated, always searching for what lies at the root of strong organic forms. Knitted and crochet fabrics for coats, jerseys and accessories. Combination of wool and leather that create different textures and thicknesses in handmade process.

0+1=a_FORMAL LANGUAGE
The garments are unlined open on the inside so we can show the way each piece is assembled. This permits us to see the innermost layer on the outside, in the way that language constructed inside us comes out in word form. The materials are left rough-edged so the garments can express itself through the passing of time

0+1=a_METALANGUAGE
Hollow hand sculpture necklaces with organic rounded forms which are then filled. The filling method allow each necklace to assume a unique and unrepeatable form. Unique pieces and limited editions: accessories, as bold as the garments themselves.

0+1=a_CROMATIC LANGUAGE
Colours that emerge from the representation of written language: white for paper, black for ink and grey for graphite.

0+1=a_BINARY LANGUAGE
The "mise en scène" responds to the language of computers: binary. It's based on the presents/absence duality. Using 1 and 0 to make numeric representations. Any impulse-image, number, letter or sound is translated by the computer into a specific combination of zeros and ones. The value of small "a" in this language is 97 and its absence/presence code is 01100000, and capital "A" corresponds to 65, whose code is 01000001. If we add "a" and "A" we get a total of sixteen digits. Each look therefore corresponds to one digit (0 or 1) situated within a 4x4 matrix. The collection is structured in monochromatic looks. The blacks and dark greys corresponds to the absence of an impulse (0) and the withes and light greys corresponds to their presence (1)