In the Animal pattern, 200 animal shaped logos are set free.
The Male and the Female versions of the wool and cotton knit Animal Sweaters.
The Animal pattern wallpaper, together with Stefan Sagmeister’s Darwin Chair. Installation view from the Connecting the Past and the Future show at the Graphic Design Museum in Breda, The Netherlands, January 2011.
The Animal Sweater was first shown at The Visual Power Show in Zollverein, Germany in 2006. Installation view of the prototypes from the New Work show at the Sandberg Institute in Amsterdam, September 2006.
Nature used to be an unpredictable place
of mystery. Fascinated with nature’s untamed wildness, artists created animal and floral patterns as a celebration of this phenomenon of the physical world.
Today this wilderness has disappeared and nature has lost its unique position. There
is nothing that has not yet been altered by human intervention. Man has conquered nature and is repackaging it neatly. Zoos, parks, artificial beaches and genetic engineering. We have cultivated nature for our own convenience. Now, it is instead man-made cultural constructions that are becoming increasingly autonomous and slipping out of our control. Wild systems
like brands, stock markets and traffic is the wilderness of today. Nature has become culture and culture is turning into our new nature.
As we are surrounded by logos, we are systematically invited, encouraged and directed in what we do. Brands want to be personal and engage in a relationship with you. They want to become a central part of your life. But there is no dialogue, only targeted one-way communication. The symbols are constantly in your field of vision but they are still not part of the public domain. Ownership is of the corporations and the destiny of the logos is in their hands.
In the Animal Sweater pattern, 200 animal shaped logos are set free. Emphasizing the beauty of the stylized animals and their collective kinship, rather than each mark’s individual commercial value, the pattern suggests a new way to experience the commercial imagery.
The fabric of the original sweater was knitted using computerized knitting technology at the Nederlands Textielmuseum in Tilburg and the garment was cut and sewn by Dima Stefanova.