Surreal: Functional Necessary Design
Introduction
When faced with a perplexing representation there is unique interpretation for the randomness of being. This project grew out of personal inspiration of a single painting and through it, my initial curiosity landed on the very broad realm of Surrealism. By expanding through the specific painting I was able to further analyze my personal intent of attraction towards these objects and resolved it through the means of interior design. Bird on a Tree, the lesser known painting by Pablo Picasso was created in 1928. Inspired by the growing darkness of the upcoming Spaniard civil war of 1937 and its juxtaposing representation of a dove symbolizing peace that Picasso often used inspired by his fathers profession of pigeon breeder lead him to create the geometric and playful painting that I was inspired by. I find this proposal as the metaphorical catalyzer for my interest in design, the enigmatic result from an unsuspecting artist, the curiosity, and the dedication to create for pleasure. Picasso never considered himself a part of the surrealist movement even though he greatly influenced it. It was those who participated as the precursors of surrealism who included Picasso in the movement as mere inspiration. It is during the 1920’s when the writings of Sigmund Freud were interpreted by artists and poets to create surrealism as a form of representation. Based on an alternate reality of chance, desire and dreams Surrealism was the ultimate presence of individual perception. “Surrealism revived Picasso’s attraction to primitivism, eroticism, and violence” this notion lead Picasso to the deconstruction of forms, by breaking them to simple figures he was able to challenge visually the concepts of what he represented in hopes to “liberate the mind”. It is in the 1930s where we begin to see Surrealism within objects, designers and artists such as Dali and Magritte used conceptual juxtapositions to create bizarre objects that “broke away from a too mechanical society in hopes to make the fantastical a part of our reality”. This surreal reality carried through to interior design as well with the example of the Monkton House, home of poet Edward James in Britain. Being friends with Salvador Dalí, James’ home was a spectacle of surrealist objects that maintain function yet provide the physical and conceptual allure of the subconsciousness of the artist. For this researched timeline I have two main objects with a third providing for (literal) structural support. The first two and main topics are The Monkton House, which was inspire by Bird on a Tree. The third is the Red House, home of poet, activist and designer William Morris designed alongside architect Philip Webb. Morris was a prominent figure in the arts and crafts movement and actively sought to drive artisans and creators away from the industrialization of design and focus on craftsman’s ship and intent. With this mentality he went on to form “The Firm” an operation of designers alike who produced hand made quality furniture carvings metalwork among other constructed design features.
Conclusion
The entanglement of art, design and history presented within the structural home of William Morris adorned with the interiors of Edward James inspired by Picasso have become a representation of a particular train of thought encapsulated with in the subject of Surrealism. This passage was not meant to be simple nor to have a logical and/or clear resolution. It was meant to present a chronological exercise in a surreal manner of the reemergence of surrealism as a design style and how and why it is happening now. The ambiguity of surrealism is due to the unconscious intent of the artist behind the message, If I were to expand on this timeline I would like to invite opinions on particular spaces and furniture objects that help formulate an analysis of what the visitor/viewer infers form each piece.
