Image Courtesy of Studio Drift.
SLEEK: Your design philosophy is ‘Dialogue of Opposing Worlds’. Can you explain what this means?
Ralph Nauta: I have always been inspired by science fiction and the way that technology can influence humankind in surprising ways. Meanwhile, Lonneke [Lonneke Gordijn, the other half of Studio DRIFT] is really into natural processes and undiscovered beauty. She is fascinated by the way that nature behaves and how this is linked back to humanity. ‘Dialogue of Opposing Worlds’ refers to our exploration of nature and technology, creating a space where the two can co-exist.
S: We understand the importance of appreciating nature, taking care of it and being inspired by it. But how can we learn from it in a meaningful way as you do?
RN: I think people often forget the value and importance of having a connection with the natural environment around them. If we are not connected to nature, how are we supposed to connect with each other? Nature has a natural flow to it; everything has a specific rhythm and role. I think this is the most important thing to learn from nature. Within the structures of our society, most technology that we experience on a day-to-day basis is pushing us further and further away from these natural rhythms. In our work, we look to nature to try to restore these rhythms and harmonies through an alternative use of technology.
S: With your work, you seek to capture the wonders that surround us. How do you encounter the wonders of this world?
RN: I love to snowboard. It’s a sport that depends on nature and the weather, and so a relationship forms. Long mountain walks are also a way for me to discover new ideas and connections to nature. When you’re walking for three days and hardly encounter another being, you can just let your mind re-engage with the flow of the natural world, allowing yourself to receive collective thoughts from the land.
Image Courtesy of Studio Drift.
S: And how do you translate and transform these experiences into an idea/concept?
RN: Most ideas come from feelings of connection to nature; feelings of wonder and tranquillity. It’s a feeling of being, which often leads me to ask questions about existence and the structure of our world. When we have the initial idea, it may take a while for us to realise it as we build and develop our technologies ourselves to show something that has never been encountered before. We want to recreate the feeling of standing on a beach, letting the rhythm of the waves slow you down. Our work is about a reconnection to belonging and being.
S: You think about the future, about nature and technology, posing the question whether technological progress endangers the balance of nature. How would you answer the question?
RN: With technology, there’s always a threat but there’s also an incredible amount of possibility. When used in innovative ways, technology can point the way towards potential solutions. It’s really about how we can employ technology to create positive change for the future. The other end of the technological spectrum is much darker and is often to do with financial profit. With our work, we try to counter this by presenting an alternative use for technology in creating a connection to and awareness of nature. In a specific body of work entitled Franchise Freedom, we used drones – which are usually associated with war, destruction and surveillance – and reimagined their purpose by producing light spectacles that brought people together. So it all comes down to the question of how to make best use of the technology around you.
S: Your works are characterised by an intoxicating beauty. This also creates a very big emotional reaction from anyone who experiences your work. As the creator, how do you experience the emotion of your work?
RN: When you finally press enter, after 10 years of research, development and failure, it’s truly an incredible feeling to see that the finished piece in front of you is as you imagined. It’s amazing to see the emotional responses of others who are experiencing the work in the exhibition space. You know, although the visitors to our shows were not part of the process, it’s fascinating to see them form their own individual relationships with the pieces. It suggests the impact nature and technology can have when they work together.
Image Courtesy of Studio Drift.
S: Can you give an example of something that inspired you so much that it subsequently turned into a big project?
RN: As a kid, I was always wondering how things around me were built. I would literally pull things apart to get to the bottom of how they worked. Inspired by this childlike wonder, we have a series called Materialism, whereby we deconstruct everyday objects to understand how they function and what materials they are composed of. We then represent those materials in specific blocks of different dimensions, which are then used to create sculptures of collected excavated materials. By reworking these materials in this way, we are altering the functionality of the object so that it becomes something else.
S: Is beauty a response to destruction?
RN: Sometimes you have to destroy something in order to build something new.
S: Most people remember from their youth the pleasure of chestnuts, beechnuts, pine cones, shells collected on the beach or colourful stones. It seems that nostalgia for these simple things accompanies us throughout our lives. How do we find our way back to the simple things?
RN: Living in such a fast-paced society that has certain structures and expectations, it’s often hard to find ways to appreciate the simple things. We no longer have that childlike wonder, which is where a lot of our nostalgia comes from. Maybe we should have a week whereby all mobile devices are shut down, where people are encouraged to find their way back to nature and heal.
Image Courtesy of Studio Drift.
As featured on SLEEK 74 – IDENTITY. Available in print and digital hier.