Instagram Hikaye Kaydet

BOUND MAGAZINE

In the “Almost Weightless” series by @galya_samohina, still lifes present tenderness as a structure: an egg, cloth, thread, glass, and wild flowers assemble into a fragile balance. The objects don’t simply ‘stand’: they gently hold one another, hovering between protection and release, veiled by a layer of sweetness that reinforces the idea of a structure on the verge of breaking.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

In the “Almost Weightless” series by @galya_samohina, still lifes present tenderness as a structure: an egg, cloth, thread, glass, and wild flowers assemble into a fragile balance. The objects don’t simply ‘stand’: they gently hold one another, hovering between protection and release, veiled by a layer of sweetness that reinforces the idea of a structure on the verge of breaking.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Past and future, two extremes of a temporal line. The stone seems to anticipate the fate of the organic;
the red stems arrange themselves around that suspended promise.

Photography @danielmolinaph
Art direction @irenemurzudaire

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Past and future, two extremes of a temporal line. The stone seems to anticipate the fate of the organic;
the red stems arrange themselves around that suspended promise.

Photography @danielmolinaph
Art direction @irenemurzudaire

#Art #Photography #Objects #StillLife #boundinside

BOUND OBJECTS

A few months ago we launched our first object "Sculptural Glass": a glass carrying a poem by Leti Sala designed by Paula Arriola. Since then, the gesture has mattered as much as the object itself: a hand circling its rim, distracted, almost playing, like when the mind drifts elsewhere.

In Spanish, there’s a word for that: "ensimismamiento", a quiet absorption into oneself when we retreat for some seconds from the world in a soft way.

The glass becomes a surface for an instant of reflection offering a little pause in the middle of the action of drinking: a small invitation to inhabit that state of ononeselfism, where thought folds inward and the poetic stops decorating and starts interrupting.

By @leti.sala and @_paula_arriola_

#BoundInside #glass #BoundObject

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Unrecognizable objects unfold as impossible organisms, suspended between the technical and the biological, defying any attempt at identification. In Federico Reparaz images forms emerge in black and white, hinting at a life that never fully materializes yet never entirely fades.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

In these images transparency governs what we think we can see, while matter negotiates its form with the gaze, causing the notion of truth to be suspended within the visible.

Photography: @marionmaimon
Art Direction: @drapier.studio
Set designer: @daphnee.davoise

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

In these images transparency governs what we think we can see, while matter negotiates its form with the gaze, causing the notion of truth to be suspended within the visible.

Photography: @marionmaimon
Art Direction: @drapier.studio
Set designer: @daphnee.davoise

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

In these images transparency governs what we think we can see, while matter negotiates its form with the gaze, causing the notion of truth to be suspended within the visible.

Photography: @marionmaimon
Art Direction: @drapier.studio
Set designer: @daphnee.davoise

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

In these images transparency governs what we think we can see, while matter negotiates its form with the gaze, causing the notion of truth to be suspended within the visible.

Photography: @marionmaimon
Art Direction: @drapier.studio
Set designer: @daphnee.davoise

#Art #Photography #Objects #StillLife #boundinside

BOUND GALLERY

Full (2019) by @olya_o

Exclusively for Bound, Inside Gallery

In Full, Olya Oleinic places us before a paradox: presence constructed from absence. The work does not simply depict an object; it examines how it appears and is perceived. The form, in delicate balance, oscillates between being and fading, so that its presence is produced precisely through its ephemeral condition.

The title suggests fullness, yet the work reinterprets it as a relation between what is visible and what is withdrawn from perception. The image does not present itself as a closed object, but as a process that positions the viewer before an unstable condition, opening a reflection on how meaning is constructed through this mediation.

From this perspective, the work can be understood as a conceptual structure that examines the limits of the object, exploring how absence participates in the formation of meaning within the photographic experience.

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

"Clean” is never neutral: it’s what decides what gets to remain. Monochrome doesn’t reduce but insists, an aesthetic that erases excess until it becomes norm. Purity emerges between foam and shadow as a constraint rather than an ideal.

Photography: @erwandesmazon
Set design & Art direction : @lauraroongsri

BOUND MAGAZINE

"Clean” is never neutral: it’s what decides what gets to remain. Monochrome doesn’t reduce but insists, an aesthetic that erases excess until it becomes norm. Purity emerges between foam and shadow as a constraint rather than an ideal.

Photography: @erwandesmazon
Set design & Art direction : @lauraroongsri

BOUND MAGAZINE

The playful celebration of geometry, primary colors, and a break from modernist functionalism defined the ideals of the Memphis Group, founded by Ettore Sottsass in 1981. In “Memphis Structures” Anouck Mutsaerts and Alicia Dubuis nod to these concepts by ironically formalizing them into a game, translating them into what we might call the “essential forms and colors” that inspired the group’s designs, reminding us that design can be a cultural gesture that challenges the dominant logic.

Photography: @aliciadubuis
Art direction: @anouckmutsaerts

#BoundInside #Object #photography

BOUND MAGAZINE

The playful celebration of geometry, primary colors, and a break from modernist functionalism defined the ideals of the Memphis Group, founded by Ettore Sottsass in 1981. In “Memphis Structures” Anouck Mutsaerts and Alicia Dubuis nod to these concepts by ironically formalizing them into a game, translating them into what we might call the “essential forms and colors” that inspired the group’s designs, reminding us that design can be a cultural gesture that challenges the dominant logic.

Photography: @aliciadubuis
Art direction: @anouckmutsaerts

#BoundInside #Object #photography

BOUND MAGAZINE

The playful celebration of geometry, primary colors, and a break from modernist functionalism defined the ideals of the Memphis Group, founded by Ettore Sottsass in 1981. In “Memphis Structures” Anouck Mutsaerts and Alicia Dubuis nod to these concepts by ironically formalizing them into a game, translating them into what we might call the “essential forms and colors” that inspired the group’s designs, reminding us that design can be a cultural gesture that challenges the dominant logic.

Photography: @aliciadubuis
Art direction: @anouckmutsaerts

#BoundInside #Object #photography

BOUND MAGAZINE

The playful celebration of geometry, primary colors, and a break from modernist functionalism defined the ideals of the Memphis Group, founded by Ettore Sottsass in 1981. In “Memphis Structures” Anouck Mutsaerts and Alicia Dubuis nod to these concepts by ironically formalizing them into a game, translating them into what we might call the “essential forms and colors” that inspired the group’s designs, reminding us that design can be a cultural gesture that challenges the dominant logic.

Photography: @aliciadubuis
Art direction: @anouckmutsaerts

#BoundInside #Object #photography

BOUND MAGAZINE

The playful celebration of geometry, primary colors, and a break from modernist functionalism defined the ideals of the Memphis Group, founded by Ettore Sottsass in 1981. In “Memphis Structures” Anouck Mutsaerts and Alicia Dubuis nod to these concepts by ironically formalizing them into a game, translating them into what we might call the “essential forms and colors” that inspired the group’s designs, reminding us that design can be a cultural gesture that challenges the dominant logic.

Photography: @aliciadubuis
Art direction: @anouckmutsaerts

#BoundInside #Object #photography

An artifact interrupts the pear's elegance, letting its form drift into abstraction. In this image Marion Maimon explores the idea of interference through the visual manipulation of form itself.

Photography: @marionmaimon
Stylism: Ada Deschanel

BOUND MAGAZINE

Finding the sculptural within the everyday: butter, as a mutable material, records the gesture and fixes it, turning the domestic into something unexpected.

Photography: @antarticaestudio

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Finding the sculptural within the everyday: butter, as a mutable material, records the gesture and fixes it, turning the domestic into something unexpected.

Photography: @antarticaestudio

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Finding the sculptural within the everyday: butter, as a mutable material, records the gesture and fixes it, turning the domestic into something unexpected.

Photography: @antarticaestudio

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

Finding the sculptural within the everyday: butter, as a mutable material, records the gesture and fixes it, turning the domestic into something unexpected.

Photography: @antarticaestudio

#Art #Photography #Objects #StillLife #boundinside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

In these images, @rahmanabdoul_ explores the forms and materiality of paper, proposing textures that evoke the hyperrealist oil paintings on the same subject by the artist Claudio Bravo. The interplay of light across the folds engages in dialogue with the multiple geometries offered by a simple sheet of white paper.

Photography: @rahmanabdoul_
Set design: @fionalebre_setdesign

#Photography #Object #BoundInside

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton

BOUND MAGAZINE

L'Arlésienne is a process-based artwork created from a plaster chair, lace, and the growth of red amaranth, conceived by Karina Rikun and florist Noé Lebreton. Over three weeks, the piece changed each day through care, watering, and observation. It reflects on feminine memory, the fragility of transmission, and the impermanence of living things.

The work is documented through a journal and photographs that follow its cycle, from germination to disappearance, as well as objects left behind: the chair, lace fragments, the journal, and dried sprouts.

The piece explores feminine and collective memory. Lace suggests traditional Arlésienne clothing, but also intimate textiles, blood-stained sheets, and traces of interrupted motherhood. The amaranth grows like hair, a wound, or a mantle depending on its stage.

Photography @karinarikun
Florist #NoéLebreton