Clementine Schmidt is a french designer currently based in the Netherlands. After a Bachelor degree at the ESAD de Reims in 2013 She obtained her Master degree in Contextual Design from the Design Academy Eindhoven in 2017. Clementine’s work operate on images and visual context through different medium such as video, objects and installations.

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EDITING CHOREOGRAPHY

 

Part of the researchs for the Framing project.

 

These experimentations were about frame, editing and the specific informations that an image.

How with even the less information possible the frame and the editing can create another narrativ.

Each footage were from a previous video with a different story based on body movements and boredom.

 

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04.1

 

 

For this project we had to rethink and improve a hospital room. I wanted to understand how a visual context can modify our mood, self-understanding and relationship with the environment, and looked for inspiration from various angles, such as the work of artist Dan Graham, texts of philosopher Michel Foucault, the panopticon, filmtheory, and scientific and psychiatric theories on eye movements.

 

My final installation showed how a hospital room might slowly and gradually change to slowly put the patient in a different state of mind. This gradual and constant change of atmosphere, rythm, time-frame, is hardly noticed consciously, but it does evoke a vivid imagination.

04.2

 

 

DESIGN-OATH

 

 I swear to submit to the following set of rules drawn up.

 

1 I will try to forget about me my ego and my pride. I will work thinking of you ,users, with soul and modesty and will not use any of my possibilities for my own egoist desire. The designer is not a star, is an eye.

 

(We should be sponges)

 

2 I will forget about my volonty / obsession on finding "solutions" and will not give in to my compulsive will to make the difference. But put all my effort and knowledge on trying alternatives to create experience on different realities.

 

(We should be antisocial to trends)

 

3 Design is not only about object, not only about production, not only about aesthetique, but also about humans, actions, systems and structures. Design is about functionality, but functionality is not only on images and objects, but also works with the nonvisible and dreams.

 

(We should be more influenced to time based Arts: Film / video / photography)

 

4 I will try to work with different layers of design and interdisciplinary collaboration but always toward the same goal: experiencing humanity.

 

5 I will respect your need and dignity, preserve your independance and will not stop your imagination. Think of you with different point of view, possibilities and timeframe.

 

(We should look more into cognitive sciences, psychology, history of colors and symbolism.We should treat design as a movie character)

 

6 I will not tend to become a specialist. Specialisation will unable interactions and design is all about interactions. Instead I will work with any kind of specialist depending on the context. Design will be a link for everything and everyone.

 

7 I will be curious and open to any kind of inspiration and will not be careless about emotions and details.

 

(We should act as actors, live different lives and collect different experiences)

 

8 I will not think and work with “efficiency” but with all my capacities, awareness, curiosity, playfulness and dynamism. The designer is not a machine and needs amusement and rest.

 

9 I will not be impatient. The work is not only about the achievement but also about everything that is before.

 

10 I will tend to act as an innocent mind because innocent mind has no fear.

 

 

 Boris Groys says that the fields of art & design are divided in two parts, two opposed dynamics with different feelings. One that tries to go beyond the system, full of volonty [enthusiasm?] and a will to change; the other more frustrated, realizing that change seems to lead only to a different aesthetic. We can easily find those opposed dynamics in the human himself. The one who takes advantage of the system and the one frustrated by the failure of the preceding changes.

The duality of those in-between moments can also be seen in the opposite way. The fact that we are still frustrated by the failure of the non-changing system can also lead us to try again and open a third door with new directions. Looking for possibilities and scenarios and see frustration and disappointment as a motor of dream, actions and changes.

 

 After several attempts to enhance ourselves by improving our surroundings in a social, aesthetical or ethical way through architecture, design, art and their various movements, it appears that we are now in the need of questioning and improving ourselves as entity, as human, as designers.

 

In Between Design rebirth is a « mise en scene »  of my hopes and need: The rebirth of Design.

Through a video and a  manifesto this project is asking for a more contemplative and analytical designer for more ethics and dreams in Design.

 

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In french ‘Habits’ means clothes and ‘Habitats’ means dwelling. They are from the same family of words with the same origin. Actually our clothes are our first separation between the inside and the outside, public space and private space - the first threshold of our intimacy. What if those clothes could also be shelters? A space that can create a homey feeling anywhere?

 

Home is neither a fixed place, nor does dwelling refer merely to the functional relationship of man and his environment. Dwelling is also, and most of all, a psychological sensation, a feeling and idea of security.

 

People are constantly on the move. For work, holidays, war, security, climate-change. When it comes to refugees, a recent Christian Aid report predicts that, based on current trends, a further 1 billion people will be forced from their homes between now and 2050. For this reason I decided to create an intimate space that people might carry and wear anytime, everywhere - a house/suit for the transitory moments in their lives. The house/suit is made of construction materials, including isolation fabrics.

 

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This project investigates the blurry domain where physical and virtual realities meet.

 

The question was prompted by the observation that we today are so involved with virtual reality, mediated through a range of technologies, that the distinction can hardly be made. The virtual is real to us, and the opposite also applies sometimes. The word 'virtual' seems to denote something immaterial and is often thought of as opposed to the tangible, actual world. But the philosopher Gilles Deleuze, refers to it as something complementary to reality, or a continuation of it. So the question was  how can I grasp and represent the complementary relationship between the real and the virtual?

 

To get a hold of the idea, I set to work winding yarn around the various parts of an iconic object: a chair. The yarn becoming like a skin, she continued until gradually, the actual chair parts could be removed. A set of new objects remained,  following the contours of the original shape but lacking the content. They are presence and non-presence at the same time. Skin and substance. A ghostlike image that depicts our modern condition, in limbo between the analogue and the digital.

06

 

 

EDITING CHOREOGRAPHY

 

Part of the researchs for the Framing project. These experimentations were about frame, editing and the specific informations that an image.

How with even the less information possible the frame and the editing can create another narrative. Each footage were from a previous video with a different story based on body movements and boredom.

 

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