Persona Mask Series by Siba Sahabi

Masks as personal expression in the digital era.

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Appreciations towards Siba Sahabi for providing the following description:

设计师Siba着迷于图像与现实的关系,设计出了这套名为Persona的木制面具。九款巨大的面具对个人主义的本质进行了探讨,它们如同可穿戴的雕塑,只遮挡住部分面部。戴上后,人们可以在保持距离的同时相互交流。

The nine oversized masks investigate the nature of individualism. Fascinated by the relationship between image and authenticity, Siba designed a series of wooden masks entitled Persona. The open structure of the nine wearable sculptures covers only parts of the face, while leaving the rest unveiled. This form allows the masks to stimulate communication while simultaneously creating distance.

作品的名称Persona来源于人类上千年来佩戴面具的实践,或实际,或虚拟。这个词来自拉丁语,原指戏剧中的木制面具,现在则衍生出了丰富多彩的文化和社会含义。西方精神病学将其描述为个人面对世界时展现的社会面貌。C.G. Jung形容它为:“这种面具一方面塑造了一个人在他人之中的形象,另一方面抹杀了这个人作为个人的本质。”

The title Persona refers to the millennia-long practice of wearing physical and metaphorical masks. Derived from Latin, the term ‘persona’ was originally used to refer to a theatrical, wooden mask. Extending from these origins, it has taken on many different cultural and social meanings. Western psychiatry describes persona as the social face the individual presented to the world and C.G. Jung described it as “a kind of mask, designed on the one hand to make a definite impression upon others, and on the other to conceal the true nature of the individual”.

如今社交媒体盛行,人们的“脸”成为了人们自身的代表,而21世纪也可以被称为看“脸”的时代。“脸”成为了人们表达自身文化认同的方式,在网上的社交媒体中,用户更是用其塑造了一个虚拟形象。

Due in large part to social media, and the increasing communication and representation of ourselves through our faces, the 21st century can be described as the ‘era of the face’. The face has become a way to express cultural identity and, in the context of online social platforms, users extend this expression to the creation of a virtual persona.

通过数字形象表现自我文化身份是一个相对比较新鲜的现象,人们挑选自己的数字肖像,试图在自我表达和群体认同中找到平衡。在这九个面具中,Siba展示了图像与现实,公众与个人之间不断转换的关系。她的面具质问道:“在数字时代,人究竟为何物?”面具富有建筑感的开放结构让“脸”与立面产生交错。这些面具为浅蓝色,高60厘米,由18毫米厚的木板制成。每个面具包含11个层层相叠的元素,均为CNC加工而成。

Depicting cultural identity through digital self promotion is a relatively new phenomenon, but it is through our selection of digital self portraits that we strive to find the ‘right’ balance between group identity and personal expression. With her series of nine masks, Siba reflects on the shifting relationship between authenticity and image, between the public and the private. Her masks question what kinds of ‘things’ we are as people in the digital age. The open structures of her architectonical designs allow an interplay of faces and facades. The masks are made out of 18mm thick balsa wood and consist of up to eleven CNC-milled elements that are arranged in a layered composition. The sculptural objects are finished with a light blue coating and measure up to 60 cm in height.

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